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THE UNIVERSITY OF TEXAS PRESS 
~ 
THE UNIVERSITY OF TEXAS BULLETIN 

No. 3130: August 8, 1931 
MOLIERE AND TERENCE, A STUDY IN 
MOLIERE'S REALISM 

By 
KATHERINE E. WHEATLEY, Ph.D. 

PUBLISHBD BY THB UNIVERSITY POUR TIMBS A MONTH, AND ENTERBD.U 
SBCOND·CLASS MATTER A.T THE POSTOPPICE AT AUSTIN, TBXAS, 
UNDER THB ACT OP AUGUST 24. 1912 

The benefits of education and of useful knowledge, generally diffused through a community, are esaeni::ial to the preservation of a free govern• ment. 
Sam Houston 
Cultivated mind is the guardian genius of Democracy, and while guided and controlled by virtue, the noblest attribute of man. It ia the only dictator that freemen acknowledge, and the only security which freemen desire. 
Mirabeau B. Lamar 
TABLE OF COTENTS 
Page Introduction --------------------------------------------------------------------------------------7 Chapter I: Phormio and les Fourberies de Scapin___________________ __
__ 10 Chapter II: The Adelphoe and l'Ecole des maris____________________________ 44 
Chapter III: Donatus and Moliere's Theory of Drama -----------------98 
Appendix: Dorimonds's la Femme industrieuse as a Source of l'Ecole des maris __________________________ _
__ __
____ __ 
_
_______________________ 120 
Bibliography ------------------------------------------------------------------------------------122 

PREFACE 
I wish to express my gratitude to Professor W. A. Nitze of the University of Chicago, whose guidance and help during the preparation of this study have been invaluable. My sincere thanks go also to Miss Hilda Norman of the University of Chicago for her kindness in reading the first draft and for her many helpful suggestions for revision. 
KATHERINE E. WHEATLEY. 


INTRODUCTION 
Moliere's contemporaries recognized Terence's Phormio as the source of les Fourberies de Scapin and the Adelphoe as the most important model of l' Ecole des maris. Every one knows that Boileau censured his friend for allying Terence with Tabarin in les Fourberies de Scapin.1 
Moliere's enemies apparently saw in l'Ecole des maris a copy of the Adelphoe. We have Grimarest's word for it: "Je ne vois pas, disoit un Auteur Contemporain, qui ne reussissoit point, OU est le merite de l'avoir fait; ce sont les Adelphes de Terence; il est aise de travailler en y mettant si peu du sien, et c'est se donner de la reputation a peu de frais."2 But it is very likely that Moliere himself did not deny his debt to Terence. The preface of 1682 tells us that he preferred Terence to all the other poets and chose him as his model : 
L'inclination qu'il avoit pour la Poesie le fit s'appliquer a lire les poetes avec un soin tout particulier: ii les possedoit parfaitment, et surout Terence; ii l'avoit choisi comme le plus excellent modele qu'il eiit a se proposer, et jamais personne ne l'imita si bien qu'il a fait.3 
This preface, written by La Grange, a friend of Moliere's and a member of his troupe, is one of our two reliable sources of information about the playwright. Although Moliere is indebted to Plautus for two of his important plays, he must have professed his preference for Terence and acknowledged his imitation. One cannot lightly dismiss the testimony of a contemporary of Moliere as closely associated with him as was La Grange. 4 Yet the trend of French criticism has been to minimize the Terentian influence on Moliere, especially in l'Ecole des maris. Despois5 and Moland6 have pointed out, in their editions of Moliere, the more obvious verbal reminiscences of the Adelphoe occurring in l'Ecole des 
iN. Boileau, "Art poetique," Oeuvres (Paris: Jacques Bainville, 1928), I, 269. 
2La Vie de M. de Moliere (Paris, 1877) , p. 24. 
3Moliere, Oeuvres (Grands Ecrivains de la France ed., Paris: Hachette and Co., 1873-1900) I, xiii. 
•It is likely that Moliere was one of the partisans of Terence to whom Racine refers in the preface to Berenice; Nous voyons enfin que !es -partisans de Terence, qui l'elevent avec raison au-dessus de tous Jes poetes comiques, pour !'elegance de sa diction et pour la vraisemblance de ses moeurs ne laissent pas de confesser que Plaute a un grand avantage sur lui par la simplicite qui est dans la plupart des sujets de Plaute. Oeuvres (Grands Ecrivains de la France ed.; Paris, 1886), II, 376-77. 
5Paris: Hachette, 1873-1900. 
6Paris: Garnier Freres, 1875-1884. 

The University of Texas Bulletin 
maris, but they attach little significance to the Terentian influence. Since the appearance of their editions, two different plays have been brought forward as sources of material that had been, albeit grudgingly, attributed to Terence. Guido Wenzel7 suggested that Moliere took the fundamental idea of l'Ecole des maris, the contrast of two systems of education, from Larivey's les Esprits, a play which Despois8 mentions but does not consider important. M. Martinenche thinks that Antonio Hurtado de Mendoza's El marido hace mujer is the source not only of the contrasting systems of education and the characters of the two brothers, but of much of the intrigue as well. He denies any Terentian influence at all.9 M. Michaut accepts his conclusions with slight reservations.10 Only by a detailed com· parison of l'Ecole des maris with suggested sources can the question of Terentian influence in this play be settled. Thus far no one has made such a comparison. 
The question of the relation of les Fourberies de Scapin to Terence's Phormio has not been complicated by conflicting sources. The Phormio is recognized as the chief source of the plot of les Fourberies de Scapin. Despois-Mesnard and Moland have pointed out the most important imita­tions of detail. Claas Humbert has compared the two plays but he is concerned only with corresponding characters.11 He does not deal with plot or imitations of detail. 
In an article on Moliere and Roman comedy, R. Mahrenholtz follows the same plan as Humbert in discussing the relation of l'Ecole des maris to the Adelphoe and' of les Fourberies to Phormio.12 
Terence's influence on Moliere, then, has not been adequately studied. The preface of 1682 indicates an affinity between the two authors which subsequent criticism has failed to recognize. While Phormio is considered the chief source of les Fourberies, no one has made a detailed analysis and comparison of the two plays. The Terentian influence in l'Ecole des maris has been waved aside as insignificant as compared with that of Mendoza; but the partisans of Mendoza have not weighed his contribution in the 
7"Pierre de Lariveys Komodien und ihr Einfluss auf Moliere" Herrig's Archiv fur das Studium der neueren Sprachen, LXXXII (1889) 6~0. ' 
8Moliere, Oeuvres, Hachette ed., II, 340. ' 
9"Les Sources de !'Ecole des maris," Revue d'histoire litteraire de la France V 
(1898)' 110-116. ' 
10Les Debuts de Moliere aParis (Paris, 1923), p. 120. 
11"Le Phormion de Terence et les Fourberies de Scapin de Moliere," Realschule Prog. (Elberfeld, Aug. 26, 27, 1859) . 12Moliere and die Romische Komodie," Archiv fur das Stadium der neueren Sprachen, LVI, 0876), 241-264. 
balance against that of Terence. If Moliere chose Terence as the best of models, as the preface of 1682 tells us that he did, he certainly knew the De Tragoedia ac comoedia of Aelius Donatus and the commentaries on Terence ascribed to Donatus. Donatus's theory of comedy as applied to the practice of Terence, must have influenced Moliere's conception of the genre. And yet it has not occurred to any one to compare Moliere's poetic, as expressed in la Critique de l'Ecole des femmes, with the doctrine of Donatus. 
The purpose of this study is to evaluate anew the Terentian influence in les F ourberies de Scapin and l' Ecole des maris by a more detailed comparison of these plays with their sources than has been heretofore attempted and to set forth the relation of Moliere's theory of comedy to that of Donatus. 
I have arranged the three chapters in the order of their importance. While Moliere borrowed freely from Phormio for les Fourberies de Scapin, the nature of the influence shows no such kinship between Moliere and Terence as the preface of 1682 indicates. On the other hand, not only is the Adelphoe the most important source of l' Ecole des maris as regards imitations of detail, hut this play exerted a profound and lasting influence on Moliere's conception of character and upon the technique of his more serious plays. A comparison of la Critique de l'Ecole des femmes with Donatus's doctrine and his interpretation of Terence shows that Moliere's theory of comedy conforms rather closely to that of Terence as formulated by Donatus. 
CHAPTER I 
Phormio and les Fourberies de Scapin 
Moliere derived the plot of les F ourberies de Scapin from Terence's Phormio. It has long been known that Moliere imitated Terence in this play.1 Despois-Mesnard2 and Moland3 have indicated those scenes of Terence which Moliere imitated and most of the verbal echoes of Phormio in les Fourberies de Scapin. 
Moliere has incorporated in his play several scenes taken from other sources. These sources also have been pointed out by the editors. There are no conflicting sources. The only dispute concerning the plays has been on the question of whether Moliere has improved on Terence's comedy or profaned it by making of the mildly amusing Latin play an uproarious farce. 
I propose to analyse the plots of the two plays in order to show how Moliere used material taken from Terence, what changes and additions he made, and to compare corresponding characters in order to show what traits l.Vrt>liere took from Terence, or from other sources, and what is original with him. 
The plot of Terence's Phormio is as follows: 
Chremes, an Athenian, husband of the domineering Nausistrata, has one son by Nausistrata and a daughter by a woman in Lemnos, with whom he has contracted a bigamous marriage under an assumed name. His brother, Demipho, has a son, Antipho, to whom Chremes plans to marry his natural daughter. Demipho and Chremes go abroad leaving Demipho's slave, Geta, in charge of their sons. During their absence Antipho falls in love with a penniless orphan, Phanium, whom he has met by chance. She has recently come with her mother to Athens, where the latter has died in poverty. Antipho, who wishes to make the girl his mistress, is told that she is of good family and is refused admittance to the house. He appeals to Phormio, a parasite, for aid. Phormio devises a plan whereby Antipho can marry Phanium and, at the same time, have an excuse to offer for having married a dowerless girl without his father's 
lBoileau, Loe. cit. 
2Moliere, Oeuvres (Grands Ecrivains de la France ed. ; Paris: Hachette et Cie., 
1873-1900), vol. VIII. 
3Moliere, Oeuvres Completes (Paris: Garnier Freres, 1875-1884), vol. XI. 
consent. Phormio, masquerading as a friend of Phanium's father, main­tains in court that Antipho is next of kin to Phanium and, according to Athenian law, must marry her, since she is without means of support. Antipho offers no defense and the court orders the marriage. Chremes's son, Phaedria, also becomes involved in a love affair. He has fallen in love with Pamphila, a cithern-player, but cannot raise the money to buy her from the slave-dealer who owns her. Matters stand thus when Demipho and Chremes return from abroad. Phormio, still masquerading as a friend of Phanium's dead father, stands his ground and tries to prevent Demipho from annulling Antipho's marriage. Phaedria learns that the slave-dealer is about to sell the cithern-girl and begs Geta, the slave, to get some money for him. Geta tells Demipho that Phormio will consent to the annulment and marry Phanium himself if Demipho will provide a dowry. Chremes pays the money so that Antipho may marry his daughter, whom he intends 
to bring from Lemnos. After paying the money, Chremes meets Phanium's nurse, Sostrata, recognizes her as his daughter's nurse, learns that Phanium is his daughter, who has come from Lemnos in search of him, and that the marriage he has planned has already taken place. He learns also that the court decree has been obtained by trickery in order that Antipho might marry Phanium without a dowry. Geta discovers, by eavesdropping, the secret of Chremes's bigamous marriage and reports it to Phormio. Phormio, in order to escape punishment at the hands of Demipho and Chremes, reveals Chremes's secret to Nausistrata, who defends Phormio and Phaedria. 
The story of les F ourberies de Sea pin is as follows: 
Argante, wealthy but miserly Neapolitan, has a son, Octave, and a daughter who was stolen as a child by Gypsies and whom he has never been able to find. Geronte, a second wealthy and avaricious old man, has a son, Leandre, by his first wife and a daughter by a second wife living in Tarentum. Argante and Geronte plan a marriage between Octave and Geronte's daughter. Argante and Geronte go abroad, leaving their sons in the care of their valets, Silvestre and Scapin. Octave has married a poor orphan, Hyacinthe, who has recently arrived with her mother in Naples, where the mother has died in poverty. Leandre has fallen in love with a Gypsy, Zerbinette. When Argante returns to Naples, Octave begs Scapin, rascally and intriguing valet of Leandre, to undertake his defense. Scapin tells Argante that Hyacinthe's brother forced Octave to marry Hyacinthe but that, out of pride, Octave will not admit having been com­pelled to marry the girl and will not consent, therefore, to an annulment. 
Scapin maintains that Octave is blameless in the matter and hints that Uandre, his master's son, has been guilty of much more reprehensible conduct. Scapin undertakes, in addition to his task of reconciling Argante to Octave's marriage, that of raising money for both Octave, who needs funds to support his wife, and Uandre, who needs money to buy Zerbinette from the Gypsies, her guardians, who are threatening to take her away. To Argante, Scapin pretends that Hyacinthe's (imaginary) brother will consent to an annulment if Argante will pay him enough money to buy his equipment for military service. Argante finally consents and Scapin gives the money to Octave. Scapin then tells Geronte that Uandre is being held for ransom by Turkish pirates. Geronte reluctantly parts with the money supposedly demanded by the pirates. Scapin delivers the money to Uandre. Geronte learns that Hyacinthe is his daughter, who has come with her mother from Tarentum in search of Geronte. Argante learns that Zerbinette is his lost daughter. Scapin's trickery is inadvertently revealed to Geronte by Zerbinette; but he escapes punishment by pretending that he has been seriously wounded in an accident and asking for forgiveness before he dies. 
Moliere follows Terence rather closely in the construction of Act I of les Fourberies de Scapin. He has, however, made some important changes and additions. In Phormio, the parasite has been instrumental in bringing about the marriage of Antipho and Phanium. Moliere, of necessity, altered the situation here, since he could not make use of Terence's device, which depended on a point of Athenian law. Octave does not appeal to Scapin until after his marriage. In Phormio the story of Antipho's marriage is related by Geta, slave of Demipho, to Davus, his friend. Davus appears only in the exposition. Moliere discards the role of Davus and has Octave tell the story of his marriage to Scapin, begging Scapin to help him. The whole account which Octave gives of his marriage is found in Phormio. Les Fourberies, however, opens with a short scene that corresponds to a scene in Phormio but in which the details are reminiscent of a scene from Rotrou's la Soeur.4 In Phormio, Antipho and Phaedria discuss Antipho's marriage and the imminent return of Demipho. In les Fourberies Silvestre, valet to Octave, brings the news of Argante's return and Octave is thrown into a panic. The situation is taken from Terence and the words from Rotrou. 
'See Moliere, Oeuvres, ed. Moland, XI, 170, note 1. 
Scene II follows Terence fairly closely. Octave's account to Scapin 
parallels Geta's story to Davus: 
Phormio 
Geta tells Davus that Chremes and 
Demipho left Antipho and Phaedria 
in his charge. (vss. 71-72.) 
Geta tells Davus of Phaedria's affair 
with Pamphila, the cithern-girl. ( vss. 
80-87.) 
A young man tells Antipho and 
Phaedria that he has just seen a young 
woman, in dire poverty, weeping over 
her dead mother. ( vss. 93 ff.) 
Antipho suggests that they go and 
visit the girl. (vss. 101-102.) 
They find Phanium in squalor and 
wretchedness, weeping o v e r h e r 
mother's body. (vss. 104-106.) 
Phaedria is not impressed by Phanium's 
beauty. (vs. 110.) 
Antipho falls in love with Phanium. 

(vs. 111.) 
Antipho is told that he may not visit 
the girl unless he intends to marry her. 
( vss. 111 fl.) 
Phormio concocts a plan. Antipho puts 
it into execution. The court issues a 
decree compelling the marriage. ( vss. 
124 ff.) 

Fourberies 
Octave tells Scapin that Argante and 
Geronte left him and Leandre in 
charge of Silvestre and Scapin. 
Octave tells Scapin about Uandre's 
affair with Zerbinette. 
A woman tells Octave and Leandre 
that she has just seen a young woman, 
in dire poverty, weeping over her dead 
mother. 
Octave suggests that they go and visit 
the girl. 
They find Hyacinthe in squalor and 
wretchedness, weeping over her 
mother's body. 
Leandre is not impressed by Hya­cinthe's beauty. 
Octave falls in love with Hyacinthe. 
Silvestre interrupts Octave's story and 
summarizes briefly. Octave is told that 
he may not visit the girl unless he in· 
tends to marry her. 
Silvestre says that Octave greatly agi­
tated, deliberated, made up his mind, 
married the girl. 

There is little translation from the Latin play, despite the parallelism of incident. The description of the girl shows a few verbal reminiscences 
of Phormio: 
. . • uirgo pulchra et quo magis diceres, 
Nil aderat adiumenti ad pul­chritudinem: Capillus passus, nudus pes, i psa horrida, Lacrumae, uestitus turpis; ut, ni uis boni In ipsa inesset forma, haec formam extinguerent.~ 
( vss. 104-108.) 
~Parallel passages noted by Moland. 
Octave 
Un autre auroit paru effroyable en l' etat OU elle etoit; car elle n'avoit pour habillement qu'une mechante petite jupe avec des brassieres de nuit qui etoient de simple futaine; et sa coiffure etoit une cornette jaune, retroussee au haut de ea tSte qui laissoit tomber en desordre ses cheveux sur ses .epaules; et cependant, faite comme cela, elle brilloit de mille attraits; et ce n'etoit qu'agrements et que charmes que toute sa personne. (Act I, sc. 2, p. 416.) et ii n'y avoit personne qui n'eut l'ame percee de voir un si bon naturel. 
(Act I, sc. 2, p. 417.) 
Leandre's "assez jolie," in commenting on Hyacinthe's beauty, echoes Phaedria's "satis scitast."6 (vs. llO.) Silvestre's account of Octave's reception when he returns to see the girl follows Geta's account of Antipho's reception by Phanium's nurse: 
Geta Sylvestre Postridie ad anum recta per­
Ses frequentes visites sont rejetees de git: obsecrat, 
la. servante, devenue la gouvernante par le trepas de la mere. Voila mon homme 
Vt sibi eius faciat copiam. negat
ilia enim se au desespoir; ii presse, supplie, con­N eque eum aequom a"it facere: 
jure: point d'affaire. On lui dit que illam ciuem esse 
la fille, quoique sans bien, et sans Atticam, 
appui, est de famille honnete; et qu' a Bonam bonis prognatam : si moins que de l'epouser, on ne peut uxorem uelit, souffrir ses poursuites. V6ila son Lege id licere facere; sin amour augmente par Jes diffi.cultes. ll 
aliter, negat. consulte dans sa tete, agite, raisonne, (vss. 112-116.) balance, prend sa resolution; le. voila Persuasumst homini: factumst: marie avec elle depuis trois jours. 
uentumst: uincimur: (Act I, sc. 2, p. 418.) 
Duxit. 

(vs. 135.) 
This presentation of the antecedent action is much more skilfully handled in les Fourberies than in Phormio. Octave himself tells the story of his marriage. His annoyance at Leandre's indifference, despite his own admitted indifference to Zerbinette, his enthusiasm, his digressions in praise of Hyacinthe, all give the scene a dramatic value which is lacking in the corresponding scene in Phormio, since Geta, an indifferent onlooker, tells the story. The excited Octave is unable to give a straightforward account of matters. His story is interrupted at intervals by Scapin's "Ou est-ce que cela mime?" When Octave finally gets to the point Scapin says: "Je sens venir les choses." This remark was probably suggested by 
Davus's interruption of Geta with: "iam scio, amare coepit." (vss. 110­111.) Indeed Davus's interruption may have suggested also the possibility of leading up to the "Je sens venir les choses" with the other interruptions. 
6Verbal reminiscence noted by Despois. 
After Scapin sees the drift of Octave's story, he continues to interrupt with ironical remarks such as: 
Scapin: En effet, cela est touchant; et je vois que ce hon naturel-la vous la fit aimer. 
Octave: Ah! Scapin, un barbare l'auroit aimee. 
Scapin: Assurement: le moyen de s'en empecher? 
(p. 417.) Finally Silvestre interrupts Octave's wandering account with a terse summary of the rest of the story ending with a verbal echo of Terence.7 
Get a Silvestre 
Persuasumst homini: factumst: II consulte dans sa tete, agite, raisonne, 
uentumst: uincimur: balance, prend sa resolution; le voila Duxit. marie avec elle depuis trois jours. ( p. (vs. 135.) 418.) 
By putting these words into the mouth of Silvestre and thus having him 
interrupt and bring to an end the diffuse story of the agitated Octave, 
Moliere adds considerable piquancy to the scene.8 
This scene serves not only to relate the antecedent action and to present 
the character of Octave but to introduce the central personage, Scapin, who 
reveals a professional pride in his skill at cogging and cullying his 
masters, whom he considers his inferiors. His blase imperturbability, 
growing out of his sense of superiority, sets off Octave's naive enthusiasm 
and impetuosity. 
In Scene III, Moliere brings on Hyacinthe to add her entreaties to those 
of Octave. Scapin finally consents to help them, through sheer kindness 
of heart, he says. He then sets to work to coach Octave for the impending 
tilt with his father. From this point on, the scene follows Phormio. In 
the Latin play, however, it is Geta who coaches Antipho. 
Phormio Fourberies 
Geta counsels Antipho to put on a Scapin counsels Octave to put on a hold front. hold front. ( vss. 202 ff.) Octave says that his timid nature pre­Antipho says that he cannot command vents. himself. Scapin coaches Octave in feigning (vs. 204.) assurance. Antipho tries to put on a false air of Scapin suggests that they rehearse the assurance. Geta coaches him. scene. He will play the rOle of Argante. 
7Verhal reminiscence noted by Moland. BDespois notes that the idea of having the valet interrupt the story was probably suggested by a passage in Rotrou's la Soeur. See Hachette edition, p. 418, note 2. 
16 	The University of Texas Bulletin 
Phormio 	Fourberies 
(vss. 211 ff.) He imitates the old man so convincing­
Geta announces that Demipho is ap­ly that the timid Octave is struck 
proaching. dumb. 
(vs. 215.) Silvestre announces that Argante is 
Antipho runs away. approaching. 
(vs. 218.) Octave runs away. 
Geta suggests that he and Phaedria Scapin suggests that he and Silvestre 
defend Antipho just as they had remain and confront Argante. 
coached Antipho to defend himself. 
(vss. 221-222.) 

In this scene, as in Scene II, there is little actual translation from Terence. Moliere takes a word here and there. More often he merely imitates the movement of the Latin passage, as will be evident from a comparison of the following passages: 
Phormio 
Get a ••• fortis fortuna adjuuat. Antipho Non sum apud me. Geta Atqui opus est nunc quom maxume ut sis, Antipho; Nam si senserit te timidum pater esse, arbitrabitur Commeruisse culpam. • . 
Antipho Non possum inmutarier. (vss. 203-206.) 
Antipho Quid si adsimulo? satinest? Geta Garris. 
Antipho Voltum contemplamini: em, 
Satine sic est? Geta Non. Antipho Quid si sic? Geta Propemodum. 
Fourberies 
Scapin Et vous, preparez-vous a soutenir avec fermete l'abord de votre pere. 
Octave Je t'avoue que cet abord me fait trembler par avance; et j'ai une timi­dite naturelle que je ne saurois vaincre. (pp. 422-423.) 
Scapin 11 faut pourtant paroitre ferme au premier choc de peur que, sur votre foiblesse, ii ne prenne le pied de voue mener comme un enfant. 
(p. 	423.) Octave Je ferai du mieux que je pourrai. 
Seapin Allons, la mine resolue, la tete haute, Jes regards assures. 
Octave Comme cela? Seapin Encore un peu davantage. Octave 
Ainsi? Scapin Bon. 
Antipho 
(pp. 423-424.) 
Phormio 
Quid sic? Get a Sat est:9 (vss. 210-211.) Geta 
Sed quis hie est senex, quern uideo in ultima platea? ipsus est. 
Antipho Non possum adesse. (vss. 215-216.) 
Get a 
Ah, quid agis? quo abis, 

Antipho? Mane inquam. (vss. 216-217.) 
Geta Sed quod modo hie nos Antipho­nem monuimus, Id nosmet ipsos facere oportet, Phaedria. (vss. 221-222.) 
Fourberies 
Silvestre Voila votre pere qui vient. 
(p. 	425.) Octave 0 ciel! je suis perdu! 
Sea pin Holil, Octave, demeurez, Octave. 
(p. 425.) 
Sea pin Ne laissons pas d'attendre le vieillard. 
(p. 425.) 
To this scene Moliere has added Scapin's imita!ion of Argante's anticipated indignation at Octave. His mimicry is so convincing that the timid Octave is struck dumb and loses all his assurance before his father even appears. Thus Moliere makes extremely comic a scene that is only mildly amusing in the Latin play. 
The scene in which Scapin and Silvestre confront Argante (sc. IV) follows Terence until Scapin begins to defend Octave: 
Phormio 
Demipho enters, and, not seeing Geta 
and Phaedria, talks aloud about Anti­
pho's marriage. 
Geta comments in asides to Phaedria 
on Demipho's remarks and answers 
Demipho without intending for him to 
hear. 
(vss. 231 ff.) 

Dlmitation of detail noted by Despois. 
Fourberies 
Argante enters, and, not seeing Scapin 
and Silvestre, talks tave's marriage. Scapin comments Argante's remarks, 
sotto voce. 
aloud about Oc­
to Silvestre on and answers him 
Argante sees Silvestre, and begins to heap reproaches on him. 
Phormio 
Demipho sees Geta and begins to heap reproaches on him. 
( vss. 285 ff.) Phaedria greets Demipho and tries to appear calm and unconcerned. When Demipho insists on discussing Anti· pho's marriage, Phaedria pretends to be surprised that Demipho should blame Antipho in the matter. 
( vss. 254 ff.) 
Fourberies Scapin greets Argante and tries to divert his attention from Silvestre, whom Argante is upbraiding for allow· ing Octave to marry. Scapin pretends to be surprised that Argante should be angry with Octave. 
Moliere adopts, then, Terence's amusing device of a dialogue between two persons who are not talking to each other. Demipho soliloquizes and Geta, unseen and unheard by Demipho, answers the old man in asides to Phaedria. There is some verbal similarity: 
Demipho (not seeing the others) ltane tandem uxorem duxit Antipho iniussu meo? 
Nee meum imperium, ac mitto imperium, non simultatem meam 
Reuereri saltem ! ( vss. 231-233.) Demipho . . . non pudere ! o Jacinus audax, 
(vs. 233.) Demipho 
Quid mihi dicent aut quam causam reperient? Demiror. 
Get a 
Atqui reperiam: aliud cura.10 
( vss. 234-235.) Demipho 
An hoc dicet mihi: "Inuitus feci. lex coegit"? ( vss. 235-236.) 
10Noted by Despois. 
Argante 
(thinking himself alone) 
A+on jamais oul parler d'une action 

pareille a (Act I, sc. 
Voilii une 
(Act I, sc. 
celle-la? 4, p. 426.) Argante 
temerite bien grande! 
4. 	p. 426.) 
Argante 

le voudrois bien savoir ce qu'ils me 
pourront dire Nous y avons 
(Act I, sc. 4, Tacheront·ils 
sur 	ce beau mariage. 
Sea pin 
songe. 
p. 426.) 
Argante de me nier la chose? 
Pretendront-ils m'amuser par des contes en l'air? 
Seapin Peut-etre. (Act I, sc. 4, p. 427.) 
Argante Et pour ce coquin de Silvestre, je le rouerai de coups. (Act I, sc. 4, p. 427.) 
Demipho 
o Geta Monitor! Get a Vix tandem.11 
(vs. 234.) Demipho (to Geta) 
Bone custos, salue, columen uero familiae, Quoi commendaui filium hinc abiens meum.12 
( vss. 2'!7-288.) Phaedria Mi patrue, salue. 
Demipho Salue; sed ubist Antipho? 
Phaedria 
Saluom uenire . . . 

Demipho 
Credo; hoc responde mihi. 
Phaedria 

Valet, hie est; sed satin 
omnia ex sententia? 
Demipho 
Vellem quidem. 
Phaedria 
Quid istuc est? 
Demipho 
Rogitas, Phaedria? 
Bonas me absente hie con­
fecistis nuptias. 
Phaedria 
Eho, an id suscenses nunc 
illi? 

Phaedria 
Atqui nihil fecit, patrue, 
quod suscenseas. 
( vss. 254-263.) 

11Noted by Despois. 12Noted by Despois. 
Silvestre J'etois bien etonne s'il m'oublioit. 
(p. 428.) 
Argante (to Silvestre) 
Ah! ah! vous voila done, sage gouver· neur de famille, beau directeur de jeunes gens. 
(Act I, sc. 4, p. 428.) Sea pin Monsieur, je suis ravi de votre retour. 
Argante Bonjour, Scapin. (A Silvestre) vous avez suivi mes ordres vraiment d'une belle maniere, et mon fils s'est com­porte fort sagement pendant mon ah· 
sence. Sea pin Vous YOUS portez bi en, a ce que j e vois? 
Argante Assez bien. (A Silvestre) tu ne dis mot, coquin, tu ne dis mot. 
Scapin 
Votre voyage a·t-il ete hon? 

Argante Mon Dieu ! fort hon. Laisse-moi un peu quereller en repos. 
Sea pin 
Vous voulez vous quereller? 
(Act I, sc. 4, p. 428.) 

Argante Tu n'as pas oul parler de ce qui s'est passe dans mon absence? 
Scapin J'ai bien oul parler de quelque petite chose. 
(p. 429.) 
Scapin J'ai considere que, dans le fond, il n 'a pas tant de tort qu'on pourroit croire. 
(p. 430.) 
Moliere makes the following change in this scene. In Phormio, Phaedria 
is the first to greet Demipho. They converse for some time before Geta 
comes up to defend Antipho and himself. In les Fourberies, Silvestre and 
Scapin accost Argante at the same time. Argante, in a rage against Sil· 
vestre, thinks only of upbraiding the latter, while Scapin continues to 
interrupt him, amiably passing the time of day, as Phaedria does in the 
Latin play. Argante, who wishes to devote his entire attention to Silvestre, 
final! y says to Scapin: 
"Laisse-moi un peu quereller en repos." 
Scapin, however, is persistent and finally succeeds in making Argante 
listen to him. Scapin's defense of Octave necessarily takes a diiferent 
form from Geta's defense of Antipho. Geta maintains that a court decree 
compelled Antipho to marry Phanium and Antipho's natural timidity 
prevented him from offering any defense. Scapin tells Argante that Hya­
cinthe's relatives forced Octave i:o marry her because Octave had compro· 
mised her. Scapin adds to this line of defense amusing flattery of Argante: 
"Que voulez-vous qu'il fit? II voit une jeune personne qui lui veut du 
bien (car ii tient cela de vous, d'etre aime de toutes les femmes)." (p. 
431.) 
"J'ai ou:i dire, moi, que vous avez ete autrefois un compagnon parmi 
!es femmes." (p. 431.) 
The idea of having Scapin flatter Argante probably came from Terence.18 
Geta, for instance, praises Demipho. In reporting his conversation with 
Phormio, Geta represents himself as having said: 
"heia, sudabis satis, si cum illo inceptas homine: ea eloquentiast." (vss. 628-629.) Scapin's flattery, however, takes a different and a more amusing form. 
Act I ends with a short scene in which Silvestre tells Scapin of Octave's need of money. Scapin undertakes to raise money for Octave. 
In Act I, then, Moliere owes to Terence (1) the whole account of what has transpired before the play opens; (2) Scapin's instruction of Octave in preparation for his encounter with his father; (3) the first part of the encounter of Silvestre and Scapin with the angry Argante; and, in Scapin's defense of Octave, the farmer's hypocritical flattery of Argante, which, however, takes a different form. Despite the parallelism of incident in several scenes, there is little translation from the Latin. Moliere imitates the tone or the movement of a passage; he seldom borrows the words. 
13Compare the scene in the Adelphoe in which the slave, Syrus, hypocritically flatteri>. Demea: "tu nil nisi sapientia est," Adelphoe, verse 394. 
Moliere and Terence, A Study in Moliere's Realism 21 
Moliere has made important changes, moreover, even in the material which he took from Terence. His exposition of the antecedent action is more skilful. In Phormio, the story of Antipho's marriage is told by an indifferent observer to an outsider who does not appear again in the play. In les F ourberies the story is told by the principal actor in the drama. Octave tells his story in great agitation over the news of his father's return. This change not only enlivens the exposition hut gives Moliere the oppor­tunity to have Octave himself reveal his own character. Octave's agitation, his impulsiveness, his naive enthusiasm, are in contrast to Scapin's calm superiority, his mocking imperturbability. Octave's recital is interrupted by Scapin's ironical remarks, which serve not only to break the monotony of the long exposition hut to reveal the character of Scapin. 
Octave's annoyance at Leandre's indifference to Hyacinthe's beauty, his ingenuous admission of his own indifference to Zerhinette's beauty, Scapin's pride in his skill at intrigue, his insistence upon regarding him­self as a kindhearted benefactor of humanity, his realistic portrayal of the role of indignant father, and his flattery of Argante, all original with Moliere, add a comic verve to the first act which is lacking in Phormio. 
In Act II, Moliere again uses the Phormio as a framework and imitates 
in detail several scenes. But in this act, and in Act III, he introduces 
material from other sources. In order to incorporate this material logically 
into his plot, he has to change and add to the material from Terence. 
Scene I corresponds to the opening scene of Act IV of Phormio, in 
which Chremes and Demipho discuss their plan of marrying Antipho to 
Chremes's daughter. In les Fourberies, Argante and Geronte discuss the 
miscarriage of their plan to marry Geronte's daughter to Octave. But, 
unlike Chremes, Geronte blames Argante for Octave's conduct: 
"si vous aviez, en brave pere, morigine votre fils, ii ne vous auroit pas 
joue le tour qu'il vous a fait." (p. 439.) 
Argante takes offense and tells Geronte that his own son, Leandre, has 
committed a worse offense. Geronte is alarmed and asks what Leandre 
has done. Argante tells him to ask his informant, Scapin. (In defending 
Octave Scapin has hinted that Leandre has been guilty of more repre­
hensible conduct than Octave.) 
In Scene II, Geronte questions Leandre and tells him that Scapin has reported his conduct. 
In this scene Moliere again imitates the meeting between Phaedria and 
Demipho in Phormio. Leandre greets his father effusively. Geronte, pre­
occupied with the rumor which he has heard concerning Leandre's conduct, 
receives Leandre's demonstrations of affection coldly and insists on settling the question that is troubling him. 
Demipho Geronte Phaedriam mei fratris uideo Ah! yous Yoila ! filium mi ire obuiam. Leandre Phaedria Ah! mon pere, que j'ai de joie de Mi patrue, salue. yous Yoir de retour. 
Demipho Geronte 
Salue; sed ubist Doucement. Parlons un peu d'aflaire. 
Antipho? Leandre 
Phaedria Souflrez que je Yous embrasse, et Saluom uenire • • . que ••. 
Demipho Geronte 
Credo; hoc responde Doucement, Yous dis-je. 
mihi. (Act II, sc. 2, p. 441.) 
Phaedria 
Val et, hie est; sed satin 
omnia ex sententia? 
( YSS. 25~256.) 
In Scene III, Leandre, incensed at Scapin for, as he supposes, having 
betrayed him to his father, threatens to run Scapin through if he does 
not confess what he has done. Scapin thereupon confesses one trick after 
another which Leandre has never suspected.14 
Scene IV: At this point the quarrel is interrupted by Carle, a friend of 
Scapin's, who brings the news that Zerbinette is about to be carried off by 
her guardians, the Gypsies. The tables are immediately turned in Scapin's 
favor. Leandre now begs Scapin to help him; but Scapin, having the 
upper hand again, cannot refrain from tormenting Li~andre before promis· 
ing his aid. He refuses to forgive Leandre for his insults until Leandre 
is on his knees to him begging his forgiveness as Scapin has, a moment 
before, been on his knees begging Leandre for mercy. When he finally 
agrees to help Leandre, he makes the following comment on Geronte: 
" ... pour l'esprit, il n'en a pas, graces a Dieu! grande provision, et je 
le livre pour une espece d'homme a qui l'on fera toujours croire tout ce 
que l'on voudra." (pp. 452-453.) 
This remark prepares us for Geronte's credulity and gullibility in the 
galley scene and in the sack scene; and serves, therefore, further to 
justify the inclusion of these scenes. 
HA similar scene has been noted in an Italian scenario, but the date of the Italian play is not known. It may, therefore, be later than les Fourberies. See Hachette edition, VIII, 448, note 3. 
These scenes, probably all original with Moliere, have as their primary purpose the motivation of a later scene, in which Scapin takes vengeance on Geronte for having accused him of betraying Leandre's secret. But they have an intrinsic dramatic value. What could be more natural than the quarrel of the two old men over their sons? Scapin's unnecessary con­fession and the comic peripety brought about by the news of Zerbinette's impending departure are in line with the changes Moliere has made in Act I; they add comedy that was absent, or, at least, not sustained in the Latin play. 
Scene V is the first scene in Act II which follows Phormio in any detail. This scene opens with a "jeu de scene" and a verbal reminiscence of the Latin play: 
Argante enters without seeing Scapin and mutters to himself. (Compare 
the beginning of Act II in Phormio.)  His words recall  verses  441-444  
of the Latin play:  
Demipho  Argante  
Quanta  me  cura  et  sollicitudine  Avoir  si  peu  de  conduite  et  de  con­ 
adficit  sideration!  s'aller  jeter  dans  un  en­ 
Gnatus, qui  me  et  se  hisce  gagement  comme  celui-18. !  
inpediuit nuptiis !  (p. 453.)  

There follows a passage taken almost verbatim from Act II of Phormio. Demipho is reflecting on the misfortunes that greet a man on his return home after a long absence: 
Quam ob rem omnis, quom secundae res sunt maxume, tum maxume Meditari secum oportet, quo pacto aduorsam aerumnam ferant: [Pericla, damna, exilia peregre rediens semper 
cogitet] Aut fili peccatum aut uxoris mortem aut morbum filiae; Communia esse haec, fieri posse, ut ne quid animo 
sit nouom; Quidquid praeter spem eueniat, omne id deputare esse in lucro. 
Geta remarks in an aside to Phaedria : 
0 Phaedria, lncredibilest quantum erum ante eo sapientia. Meditata mihi sunt omnia mea incommoda, erus si redierit: Molendumst in pistrino, uapulandum, habendae compedes, 
Opus ruri faciundum. horum nil quicquam accidet animo nouom. (uidquid praeter spem eueniet, omne id deputabo esse in lucro. ( vss. 241-251.) 
Moliere puts both these speeches in Scapin's mouth: 
Sea pin Monsieur, la vie est melee de traverses. II est hon de s'y tenir sans cesse prepare; et j'ai oui dire, ii y a longtemps, une parole d'un ancien que j'ai toujours retenue. Argante Quoi? Scapin Que pour peu qu'un pere de famille ait ete absent de chez lui, ii doit promener son esprit sur tous Jes facheux accidents que son retour peut rencontrer: se figurer sa maison briilee, son argent derobe, sa femme morte, son fils estropie, sa fille subornee; et ce qu'il trouve qu'il ne Jui est point arrive, l'imputer a la honne fortune. Pour moi, j'ai pratique toujours cette petite philosophie; et je ne suis jamais revenu au logis, que je ne me sois tenu pret a la colere de mes maitres, aux reprimandes, aux injures, aux coups de pied au cul, aux hastonnades, aux etrivieres; et ce qui a manque a m'arriver, j'en ai rendu giace a mon hon destin.15 (pp. 454-455.) 
By cutting these speeches out of the scene in which they occur in the Phormio, a scene which Moliere imitates in Act I, Scene IV, Moliere does away with a tiresome soliloquy. By transferring the speech to the present scene and to Scapin, he has given it a comic turn that it did not have in the Phormio. A grave sententiousness on Scapin's part, and a hypocritical solicitude for his intended victim, make of a dull soliloquy an amusing bit of comedy. 
From this point on, Moliere follows a later scene in the Phormio. The corresponding incidents are as follows: 
Phormio Fourberies 
Geta tells Demipho that he has per­Scapin tells Argante that he has per­suaded Phormio (supposed to he the suaded Hyacinthe's brother to allow friend of Phanium's dead father) to him to annul the marriage if Argante consent to an annulment of Phanium's will give the brother enough money to marriage and to marry Phanium him-buy his equipment for military service. 
l~lmitation of detail noted by Despois. 
Moliere and Terence, A Study z.n Moliere' s Realism 25 
Phormio Fourberies 
self if Demipho will furnish him with Scapin tells Argante the brother's 
a dowry. terms and enumerates the things which 
(vss. 61911.) he must buy in order to equip himself 
Geta tells Demipho Phormio's terms, for military service. 
and, in order to run the figure up, Argante demurs at each new item and 
enumerates the things Phormio will threatens to go to law. Scapin paints 
need to set up housekeeping. a discouraging picture of the expenses 

( vss. 650 ff.) and annoyances of lawsuits. He can­
Demipho demurs but Chremes offers to not, however, run the amount up quite 
pay the money so that Antipho may high enough. Argante resolves to go 
marry his daughter. to law. 
( vss. 664 ff.) 

The difference in situation in the two plays precludes literal translation; but Moliere has followed Terence rather closely in the first part of the scene. Geta describes his interview with Phormio, representing himself as having Demipho's interests at heart: 
Geta 
Vt abii abs te fit forte obuiam 
Mihi Phormio. 

Visumst mi, ut eius temptarem sententiam. 
Prendo hominem solum: "quor non" inquam, "Phormio, 
Vides, inter nos sic haec potius cum bona 
Vt componamus gratia quam cum mala? 
Erus liberalis est et fugitans litium; 
Nam ceteri quidem hercle amici omnes modo 
Vno ore auctores fuere, ut praecipitem hanc daret." 
(vss. 617-625.) 

Scapin carries his effrontery a little further than Geta. Geta says he met Phormio by chance. Scapin maintans that he was so concerned over Argante's plight that he sought out the brother of Hyacinthe in order to try to arrive at an amicable arrangement: 
J'ai done ete trouver le frere de cette fille qui a ete epousee. . . . Je l'ai mis sur ce mariage, lui ai fait voir quelle facilite offroit la raison de la violence pour le faire casser, vos prerogatives du nom de pere, et l'appui que vous donneroient aupres de la justice et votre droit et votre argent, et vos amis. Enfin, je l'ai tant tourne de tous !es cotes, qu'il a prete l'oreille aux proposi­tions que je Jui ai faites d'ajuster l'affaire pour quelque somme; et ii donnera son consentement a rompre le mariage, pourvu que vous lui donniez de !'argent. (pp. 456-457.) 
Like Geta Scapin does not at first mention the sum. When questioned by . Argante he pretends to think the sum demanded exorbitant, as Geta does also. Like Demipho, Argante flies into a rage when he hears the figure. As Geta does, Scapin pretends to agree with him. 
Chremes Cedo quid postulat? Geta Quid? nimium quantum. Chremes Quantum? die. Geta Si quis daret Talentum magnum. 
Demipho lmmo malum hercle: ut nil pudet ! 
Geta Quod dixi adeo e"i: "quaeso, 
quid si filiam Suam unicam locaret? ..."16 ( vss. 642--646.) 
Argante Et qu'a-t-il demande? 
Seapin Oh! d'abord des choses pardessus les maisons. 
Argante Et quoi? Seapin Des choses extravagantes. Argante Mais encore? 
Seapin n ne parloit pas moins que de cinq ou six cents pistoles. 
Argante Cinq ou six cents fievres quartaines qui le puissent serrer! Se moque·t-il des gens? 
Sea pin C'est ce que je lui ai dit. J'ai rejete bien loin de pareilles propositions. (pp. 457-458.) 
Like Geta Scapin has named a sum much larger than he expects to get. As Geta does, Scapin now explains why the money is needed. He names the first item, which requires a moderate sum. Argante agrees to pay this 
small sum, as Demipho does: 
Geta 
Vt ad pauca redeam ac mittam illius ine ptias, 
Haec denique eius fuit postrema oratio; "Ego" inquit "a principio amici filiam, lta ut aequom fuerat, uolui uxorem ducere; 
16lmitation of detail noted by Despois. 
Seapin 
Enfin, apres plusieurs discours, voici 
ou s' est reduit le resultat de notre 
conference. "Nous voila au temps, 
m'a-t-il dit, que je dois partir pour 
l'armee; je suis apres a m'equiper, et 
le besoin que j'ai de quelque argent 
me fait consentir, malgre moi, a ce 
qu'on me propose. 11 me faut un 

Geta Nam mihi uenibat in mentem eius incommodum, In servitutem pauperem ad ditem dari. Sed mi opus erat, ut aperte tibi nunc fabuler, 
Aliquantulum quae adferret, qui dissoluerem Quae debeo: et etiam nunc, si uolt Demipho Dare quantum ab hac accipio, quae sponsast mihi, Nullam mihi malim quam istaM uxorem dari." (vs. 648-658.) 
Demipho Age age, iam ducat: dabo. 
Scapin 
cheval de service, et je n'en saurois avoir un qui soit tant soit peu raisonna­ble a moins de soixante pistoles." 
Argante Eh! bien, pour soixante pistoles, je les donne. 
(pp. 458-459.) 
In the Phormio Demipho finds the second item too steep and thereafter refuses to pay any more. It is Chremes who consents to pay each additional item. As the scene in les F ourberies is between Argante and Scapin alone, Moliere necessarily changes it somewhat. Argante consents to the second item. At the third he threatens to go to law; but finally yields. Thus far the scene in les Fourberies has followed the corresponding one in Phormio fairly closely. Moliere has adapted both Demipho's speeches and those of Chremes to his scene, as is evident from the following passages: 
Get a "Aediculae item sunt oh decem alias." 
Dem.ipho Oiei', Nimiumst. 
Chremes Ne clama: repetito hasce a me decem. 
Get a "Vxori emunda ancillulast; tum pluscula Supellectile opus est; opus est sumptu ad nuptias: His rebus porro sane pone" inquit "decem." 
Scapin "II faudra les harnois et les pistolets; et cela ira bien a vingt pistoles en­
core." 
Argante Vingt pistoles et soixante, ce seroit quatre-vingts. 
Scapin Justement. 
Argante C'est beacoup; mais soit, je consens a cela. 
Scapin II me faut aussi un cheval pour mon­ter mon valet, qui coutera bien trente pistoles. 
Demipho  Argante  
Sescentas  proinde scribito  iam  Comment  diantre!  qu'il  se  promene;  
mihi dicas:  il n' aura  rien du  tout.  
Nil  do.  inpuratus  me  ille  ut  
etiam inrideat?  Scapin  
Chremes  Monsieur!  
luaeso, ego dabo, quiesce.  Argante  
( vss. 662--070.)  Non!  c'est  un  impertinent.  

Eh! bien soit; je me resous a donner encore ces trente pistoles. 
(pp. 459-460.) 
By dropping Chremes from this scene and utilizing his words for Argante's role, Moliere has given a new turn to the whole scene. Demipho never vacillates. Once he has refused to give the sum demanded, he stands his ground. Argante refuses, Scapin wheedles, Argante weakens and agrees to each additional sum. Moliere continues this "jeu". As the sum Scapin asks for mounts, Argante becomes more and more determined to go to law. But Scapin paints a black picture of the annoyances and expenses of a law-suit. The cue for this argument of Scapin's is in Terence's play since Demipho threatens to go to law (vs. 668); but the details of Scapin's enumeration of the abuses of court procedure are not in the Latin play.11 In the end, Argante stands his ground and Scapin is forced to play his trump card. 
Silvestre enters disguised as a "spadassin" and representing himself to be Hyacinthe's brother, asks Scapin where he can find Argante. He has heard, he says, that Argante threatens to annul the marriage and he intends to kill Argante if he can find him. He has pretended up to this time not to see Argante, who is hiding behind Scapin. He now pretends to catch sight of him for the first time and asks Scapin who the man is. "Ce n'est pas lui, Monsieur," Scapin replies. 
Silvestre N'est-ce point quelqu'un de ses amis? Scapin Non, Monsieur, au contraire, c'est son ennemi capital. 
Thereupon Silvestre grasps Argante roughly by the hand and swears to rid him of his enemy before sun-down.18 (Act II, sc. 6, pp. 468-469.) 
l 7See Hachette edition, VIII, 460, note ( 1) . 
lBDespois attributes this scene to Rosimond, who, in a one-act comedy played in 1670 used the same device as Moliere, namely, a valet masquerading as a bravo. Moli~re may have got the idea of Silvestre's disguise from Rosimond, but the scene follows Terence. See Hachette edition, VIII, 471, note (9). 
This scene was probably suggested by a similar scene in the Phormio. Phormio and Geta, pretending not to see Demipho, put on a similar comedy for Demipho's benefit. "lam ego hunc agitabo," says Phormio aside to Geta. He then begins to rage against Demipho for threatening to annul Phanium's marriage while Geta speaks in hypocritical defense of his master: 
Geta: Si erum insimulabis malitiae, male audies. (vs. 359.) Scapin: Monsieur, ce pere d'Octave a du coeur, et peut-etre ne vous craindra-t-il point. (p. 469.) 
Scapin's hypocritical defense of his master is more comical than Geta's. Scapin has the effrontery to praise Argante's courage at the very moment when the old man is trying to hide behind Scapin, cowering and quaking with fear. The farcical denial of Argante's identity and Scapin's assertion that the old man is Argante's worst enemy are not in the Latin. Moliere prolongs the scene further with still another farcical incident. On Sil­vestre's exit, Argante announces that he has decided to pay the money which Hyacinthe's brother demands. Scapin tells him to give him the money to deliver. Argante hesitates to entrust the money to Scapin, where­upon the latter, assuming an air of injured pride, refuses at first to accept the money even when Argante presses it upon him. Argante's hesitation about giving the money to Scapin may have been suggested by Demipho's refusal to pay the dowry money to Phormio except before witnesses ( vss. 714-715); but this caution on Demipho's part is merely the cue for the imitation of a scene from Plautus's Bacchides.19 
Scapin, having procured the money which Octave needs to support his wife, now sets about extorting from Geronte the sum which Leandre must have to buy Zerbinette from her guardians: 
Scapin, pretending not to see Geronte, begins bewailing some great misfortune that has befallen Geronte, calling the name of Geronte and uttering lamentations. Geronte runs after him trying to attract his attention and find out what misfortune of his Scapin is bewailing. Scapin tells him that his son Leandre, strolling along the shore, has been invited aboard a Turkish ship. Once aboard, he has been made a prisoner and Scapin has come back to get the ransom demanded by the Turks. Geronte, torn be~ween anxiety for his son and anguish at the thought of parting with his money, reiterates the question"Qu'alloit-il faire dans cette galere?" 
iosee Hachette edition, VIII, 473, note (1). 
The first part of this scene is imitated from a scene in Phormio:20 
Geta, having surprised the secret of Chremes's bigamous marriage and the identity of Phanium, rushes out to find Antipho. He does not see Antipho, who overhears Geta's soliloquy as he rejoices over Antipho's good fortune. Although Geta is rejoicing over his master's good fortune and Scapin is bewailing Geronte's misfortune, the two passages show unmistakable verbal similarity: 
Get a Sea pin (not seeing Antipho) (pretending not to see Geronte) 0 Fortuna, o Fors Fortuna, 0 ciel 0 disgrace imprevue ! quantis commoditatibus, o miserable pere ! Pauvre Quam subito meo ero Antiphoni Geronte, que feras-tu? 
ope uostra hunc Geronte 
onerastis diem! Que dit-il 18. de moi, avec ce visage 
Antipho affiige? Quid nam hie sibi uolt? Seapin Get a ( courant sur la scene sans vouloir entendre ni voir Geronte) Ad lenonem hinc ire pergam: Ou pourrai-je le rencontrer, pour Jui ibi nunc sunt. 
dire cette infortune? Antipho Geronte 
Heus, Geta! 
Hola! es-tu aveugle que tu ne me vois 
( vss. 841-84.3 and 847.) 
pas? 
(Act II, sc. 6. pp. 475-476.) 
Although Geta actually does not see Antipho while Scapin is only pre­tending not to see Geronte, this passage from Phormio is plainly the source of Moliere's scene. The device of having one character pretend not to see another and soliloquize for the benefit of the other is frequent 
enough in Terence.21 
The rest of Scene VI is probably from Cyrano de Bergerac's le Pedant joue, although some critics have expressed doubt about the relation of this scene to the corresponding one in le Pedant joue.22 
20Moland indicates as sources of the first part of this scene an Italian comedy, Emilia, of Luidgi Grotto (Act I, sc. 5) and a play of Larivey's, la Constance (IV, 5). See Moland's edition, XI, 226, note (1). Despois gives a reference to a scene in the Epidicus of Plautus (Act II, sc. 2). See Hachette edition, VIII, 476, note (3).
21See, for instance, the Adelphoe, which Moliere has already imitated in ['Ecole des maris, verses 364-370, where the slave Syrus soliloquizes for Demea's benefit, whom he pretends not to see. 
221n le Pedant joue, Corbineli, a rascally valet, extorts money from Granger, a pedant, by the same device which Scapin uses. There is the same repetition of the line: "Qu'alloit-il faire dans cette galere?" But Cyrano's play takes place at Paris and the pirates are supposed to come up the Seine. Moreover, they capture Granger's 
Act II ends with a short scene in which Scapin delivers the money that he has collected to Octave and Leandre. Still harboring a grudge against the latter for his humiliation, Scapin indulges in a little baiting before giving the money to Leandre. He tells Leandre that he has been unable to do anything for him. Leandre then rushes off the stage, threatening to kill himself. Scapin calls him back and gives him the money. Leandre's threat of suicide recalls a similar scene in Phormio. Learning that Dorio is going to sell Pamphila, Phaedria threatens to kill himself if the girl is taken away from him. (vss. 551-552.) Moliere makes the scene much lighter by using the incident under different circumstances. What was almost tragedy in the Latin play becomes comedy here. 
In Act II, then, Moliere's debt to Terence is smaller than in Act I. Scene I does not follow the corresponding scene in Terence. The next three scenes are original with Moliere. Scene V is made up largely of material taken from Terence, as I have shown; but follows no one scene of the Phormio. Moliere alters considerably the material which he borrows from Terence. His changes, such as having Scapin speak the lines concern­ing the misfortunes that await a father on his return home after a long absence, such as dropping the role of Chremes in this scene, and having Scapin play upon Argante's fear of law suits so that throughout the scene Argante is in two minds about paying the money to Hyacinthe's brother, all tend to make the scene more comical than the corresponding one in Phormio. Scene VI was suggested by a scene from the Phormio but Moliere has added farcical elements taken from other sources. The most amusing, if not the most important, scene of Act II, that is, Scene VII, 
son, according to Corbineli's story, so that the "Qu'alloit-il faire dans cette galere? is not motivated as in les Fourberies, where Leandre is supposed to board the galley of his own accord on the invitation of an amiable young Turk. Because of this lack of motivation, which would indicate a scene awkwardly adapted by Cyrano, Moland thinks that the two scenes are derived from a common source. He finds an Italian scenario fo which the same trick is recorded with bandits instead of pirates. He assumes that in improvising the actors may have substituted pirates for bandits and may even have thought of the comic refrain "Qu'alloit·il faire dans cette galere ?" But there is still another verbal reminiscence of Cyrano's scene in les F ourberies. The pedant says: "Va prendre dans mes armoires ce pourpoint decoupe que quitta feu mon pere l'annee du grand hyver." (Cyrano de Bergerac, "Le pedant joue." Les Contempo· rains de Moliere, ed V. Fournel (Paris, 1875), III, 393.) Moliere has Geronte say: "Tu iras orendre toutes Jes hardes qui sont dans cette grande manne, et tu !es vendras aux fripi~rs, pour aller racheter mon fils." This second verbal correspondence has not before been pointed out. It would be stretching coincidence a little far to assume that the Italian actor hit upon both these speeches by chance, that both Moliere and Cyrano heard him, and that Moliere remembered the words for some twenty-five years. 
(For Moland's discussion see his edition of Moliere, XI, 150-154.) 
32 The University of Texas Bulletin 
Moliere probably owes to Cyrano de Bergerac, although the first part of the scene is imitated from a scene in Phormio. 
Act III is constructed almost independently of Terence. Zerbinette and Hyacinthe are brought upon the stage in Scene I. This scene serves as a preparation for Scene III. We are given an idea of Zerbinette's irrepres­sible, happy disposition. She characterizes herself as "d'humeur enjouee." 
Zerbinette asks Scapin to tell her about how he tricked Geronte into giving him money for Leandre. Scapin leaves the task to Silvestre. Scapin is planning his vengeance on Geronte. Silvestre does not succeed in dis­suading him. Silvestre's fears for Scapin recall those of Geta for Phormio in verses 324-325 of Phormio, but Scapin's fearlessness comes from his venturesome and courageous nature (so he says) while Phormio replies to Geta that he has nothing to fear since he would be an unprofitable victim of a law-suit. 
In Scene II, Scapin puts his plan into execution: 
He tells Geronte that Hyacinthe's bloodthirsty brother and his friends are looking for Geronte to kill him because he has instigated the proposed annulment of Hyacinthe's marriage in order to marry his own daughter to Octave. Scapin persuades the terrified Geronte to hide in a sack, while he, Scapin, assumes a Gascon accent, enacts the role of several bravos who in turn thrash Geronte soundly, while Scapin, carrying on a conversation with the imaginary bravos, pretends that he himself is being beaten at the same time as Geronte. Geronte unexpectedly emerges from the sack and catches Scapin at his tricks. 23 
Moliere has skilfully motivated this scene and integrated it to his plot hv introducing earlier scenes in which Scapin's resentment against Geronte is aroused and Geronte's stupidity and gullibility are mentioned. 
Scene III Moliere probably took from le Pedant joue. Zerbinette meets Geronte, whom she has never seen before, and, still amused by the thought of Scapin's pirate story, cannot resist repeating it to Geronte, who has asked the cause of her mirth. 
In Cyrano's play Genevote relates the story of the abduction by pirates to Granger, the pedant, who has been the victim of Corbineli's trick. Genevote, however, knows that she is speaking to the victim and pretends 
23Similar scenes seem to have been part of the common stock of the farces of the period. Despois calls attention to two possible sources of the scene, one in Les Face· tieuses nuits of Straparole and one in Les Farces Tabariniques. The only point of resemblance, however, is the use of a sack in both. See Hachette edition, VIII, 390­
393. 
that she does not know that Granger himself was the victim. Genevote is malicious and cruel; Zerbinette is merely giddy and laughter-loving. 24 
Scene I and Scene III are the most important of Act III. Scenes IV, V, and VI, are short scenes without any importance except to lead up to the denouement: 
Scene IV: Zerbinette learns from Silvestre that she has been talking to Geronte himself. Scene V: Argante upbraids Silvestre for tricking him. Silvestre denies having had any part in Scapin's roguery. 
Scene VI: Geronte and Argante plan vengeance on Sea pin. 
Scene VII is the only scene in Act III which is taken from Terence. This is the scene in which Geronte learns that Hyacinthe is his daughter. It corresponds to the seen~ in which Chremes learns that Phanium is his 
daughter: 
Phormio 
Chremes meets and recognizes as his 
daughter's nurse Sophrona, nurse to 
Phanium. 
Chremes tells Sophrona not to call him 

Stilpho because he does not want his 
wife to know of his duplicity. 
Sophrona tells Chremes that the 
change of name has made it impossible 
for his wife to find him. 
Sophrona tells Chremes that his daugh· 
ter, Phanium, is married to Antipho. 
(vss. 739-753.) 

Except, of course, for the reference 
Fourberies 
Geronte meets Nerine, Hyacinthe's 
nurse, and recognizes her as his daugh­
ter's nurse. 
Geronte tells N erine not to call him 
Pandolphe any longer because the 
reasons for assuming that name have 
ceased to exist. 
N erine tells Geronte that this change 
of name made it impossible for his 
wife to find him. 
N erine tells Geronte that his daughter, 
Hyacinthe, is married to Octave. 

to Chremes's wife, Moliere here 
translates freely the passage in the Phormio. 
Chremes 
Sophr~ma. 
Sophrona 
Et meum nomen nominal? 
Chremes 

Respice ad me. 
Sophrona Di obsecro uos, estne hie Stilpo? 
Geronte Ah! te voila, Nourrice? Nerine A! seigneur Pandolphe, que 
Geronte Appelle-moi Geronte, et ne te sers pins de ce nom. Les raisons ont cesse qui m'avoient oblige a le prendre parmi vous a Tarente. (Act III, sc. 7, p. 507.) 
24See V. Fournel, Les Contemporains de Moliere, III, 395-397. 
34 The University of Texas Bulletin 
Chremes N erine Ne me istoc posthac nomine Las! que ce changement de noms nous a ppellassis. . . . a cause de troubles et d'inquietudes Conclusam hie habeo uxorem dans Jes soins que nous avons pris de saeuam. uerum istoc vous venir chercher ici. 
me nomine Geronte 
Eo perperam olim dixi, ne uos Ou est ma fille et sa mere? 
forte inprudentes foris Nerine 

Effuttiretis atque id porro Votre fille, monsieur, n'est pas loin aliqua uxor mea rescis­d'ici; mais avant que de vous la faire ceret. voir, il faut que je vous demande par­
(vss. 739-740, 744-746.) don de l'avoir mariee, dans l'abandon­Sophrona nement ou, faute de vous rencontrer, lstoc pol nos te hie inuenire je me suis trouvee avec elle. miserae numquam potuimus. (pp. 507-508.) Chremes Vhi illae sunt? 
Sophrona 
Ego autem, quae essem 
anus deserta egens 
ignota, 

Vt potui nuptum uirginem locaui huic adules­centi, 
Harum qui est dominus ae­dium.25 (vss. 747, 751-753.) 
The rest of the denoument is of necessity different from that of Phormio. Moliere has dropped the role of Nausistrata. Scapin, therefore, must find another device to escape punishment. He sends word to Geronte and Argante that he has been seriously wounded in an accident and begs for· giveness before he dies. He is carried in and finally persuades Geronte to grant him unconditional pardon. In the meantime, Argante has dis­covered that Zerbinette is his lost daughter. The whole company goes in to dinner and the play ends with Scapin's: "Et moi, qu'on me porte au bout de la table en attendant que je meure." It is fitting that this last speech of Scapin's should be an echo of Terence. Phormio, at the end of the Latin play, asks Nausistrata to invite him to dinner. ( vss. 1052­1053.) 
Act III shows less Terentian influence than Act I or Act II. The two major scenes are from other sources, while Scapin's device for extricating 
25Noted by Despois. 
himself from the predicament in which he finds himself is original with Moliere and necessarily different from Phormio's trick in Terence's play. The only scene imitated from Terence in Act III is the discovery of Hyacinthe's identity. Les Fourberies very appropriately ends with a rem­iniscence of Phormio. 
It is evident from the analysis of the two plays that les F ourberies de Scapin is very far from being a servile imitation of Phormio. It is, indeed, not even a free adaptation of the Latin play. Moliere merely used Phormio as a basis on which he constructed a play largely of his own invention but with several important scenes drawn from other sources. Since he used the plot of Phormio as the skeleton, so to speak, of his play, it is to be expected that the first act, the exposition, be made up largely of material drawn from Terence. Such is the case. Even in the exposition, however, he has made changes. He does not follow the order of the scenes in the Latin play. He alters the presentation of the antecedent action so as to throw into high relief the characters of Octave and Scapin and at the same time considerably to enliven the account of what has taken place before the opening scene of the play. He adds farcical elements which serve to set the tone of his play, much more uproariously gay than that of Phormio. Act II opens with a situation found in Terence's play, but the scene in Terence merely furnishes the impetus for four scenes original with Moliere in which he prepares the way for Scapin's vengeance on Geronte in Act 
III. Scenes V and VI, two of the three most important scenes of Act II, are made up of material taken from the Latin play. Moliere does not, however, follow any one scene of Phormio. Moreover he rearranges, alters, and expands the material taken from Terence so as to heighten its comic value. He adds a farcical scene borrowed from Plautus. Scene VII opens with a farcical "jeu de scene" suggested by two scenes of Phormio but is taken for the most part from le Pedant joue. In the short scene with which Act II ends, one incident is suggested by a similar one in Phormio; but, introduced, as it is, under different circumstances, it becomes comedy instead of tragedy, as it was in Terence. In Act III, the most important scenes are either of Moliere's own invention or from other sources. Phormio furnishes one scene of the denouement and suggests the amusing 
speech of Scapin with which the play ends. 
Moliere's treatment of the characters of his play is no less independent of Terence than his handling of incident. The corresponding characters are: 
36 The University of Texas Bulletin 
Phormio Fourberies 
Davus, a slave . 
Geta, a slave . . . . Silvestre, valet to Octave. 
Antipho, a young man Octave. 
Phaedria, a young man Leandre. 
Demipho, father of Antipho Argante, father of Octave. 
Chremes, father of Phaedria Geronte, father of Leandre. 

Phormio, a parasite . . . Scapin, valet to Leandre. 
Dorio, a slave-dealer . . . Carle, a friend of Scapin. 
Sophrona, nurse to Phanium Nerine, servant of Hyacinthe. 

Nausistrata, wife of Chremes 
(Phanium, wife of Antipho) Hyacinthe, wife of Octave. 
(Pamphila, a cithern girl, 

mistress of Phaedria) Zerbinette, a Gypsy, sweetheart of Leandre. 
As I have indicated in my analysis of the plot, Moliere makes the following general changes in the matter of characters. The role of Davus is cut out. Davus appears only in the exposition in the Latin play. It is to him that Geta tells the story of Antipho's marriage. Moliere's rear­rangement of the exposition of antecedent action makes the role of Davus unnecessary. The role of Nausistrata, wife of Chremes, is dropped, prob­ably for the sake of propriety. Moliere avoids making Geronte a bigamist as Chremes is in the Latin play. Nausistrata is, moreover, merely the means of bringing about the denouement of the Latin play. It is she who protects Phaedria and Phormio from Chremes. Moliere finds a more amusing solution of Scapin's entanglement. It is logical and fitting that Scapin, who is so proud of his genius for those "gentill~sses d'esprit .•. a qui le vulgaire ignorant donne le nom de fourberies," should find for himself a way out of his difficulties. 26 
Moliere has added the roles of Hyacinthe and Zerbinette. Phanium and Pamphila do not appear in Phormio. Moliere makes Hyacinthe and Zerbinette distinct characters. Hyacinthe is gentle and demure. Zerbinette is of a laughing, happy nature, delightfully etourdie. 
By transferring Davus's role to Scapin, Geta's role in the exposition to Octave, and much of Geta's role in later scenes and part of Phaedria's to 
261 cannot agree with Claas Humbert, who thinks that Moliere dropped Nausistrata because she is a depraved and repellent character, unworthy even of farce. She is unworthy of farce, perhaps, but only because she is not funny. Moliere drops the role because it is unnecessary. He has found a denouement that is at once more amusing and more logical than that of Phormio and one which enables him to achieve in les Fourberies a stricter unity, for the action of les Fourberies revolves around Scapin much more than around Phormio in the Latin play. For Humbert's argument see op. cit., p. 18. 
Moliere and Terence, A Study m Moliere's Realism 37 
Scapin, Moliere has made Scapin much more the central figure of his play than Phormio is in the Latin play. He has also thrown into higher relief the role of Octave. It follows that the roles of Silvestre and Leandre are correspondingly less important than those of Geta and Phaedria in 
Phormio. 
Scapin must be compared with both Phormio and Geta, since Moliere has used both these roles of the Latin play to build up that of Scapin. Like Phormio, Scapin is not afraid of punishment for his tricks. But Phormio's fearlessness arises from the cynical conviction that he would be an unprofitable victim. A judgment against him would bring nothing, since he has nothing; no one will make him a slave, since no one wants to feed a lazy glutton. Scapin's imperturbability grows out of his sense of superiority to his victims. Argante and Geronte are too stupid and 
gullible to be dangerous. His sense of superiority includes also Octave and Leandre. He is above Octave's ingenuous enthusiasm and his excit­ability. To Scapin, the grave predicament in which Octave finds himself is a bagatelle; Hyacinthe, who, to Octave, is surpassingly beautiful, is to Scapin "passable." (I, 3.) Scapin's superiority sometimes takes the form of boasting. He says: 
A vous dire la verite, il y a peu de choses qui me soient impossibles, quand je m'en veux meler. J'ai sans doute regu du Ciel un genie assez beau pour toutes les fabriques de ces gentillesses d'esprit, de ces galanteries ingenieuses a qui le vulgaire ignorant donne le nom de fourberies; et je puis dire, sans vanite, qu'on n'a guere vu d'homme qui fiit plus habile ouvrier de ressorts et d'intrigues, qui ait acquis plus de gloire que moi dans ce noble metier. (I, 2, p. 413.) Je voudrois bien que l'on m'eut donne autrefois nos vieillards a duper; je les aurois joues tous deux par-dessous la jambe; et je n'etois pas plus grand que cela, que je me signalois deja par cent tours d'addresse jolis. (I, 2, p. 419) 27 
Phormio is perhaps rather proud of having bastinadoed several men nearly to death (vs. 327); but he has not Scapin's professional pride in his skill at cullying and duping. Phormio is cynically satisfied with his profession 
27Scapin's boastfulness recalls that of the slave, Syrus, in the Self-Tormentor of 
Terence. Syrus boasts that he could handle his master if the occasion should arise: et ne ego te, si usus ueniat, magnifice, Chremes, tractare possim. (vss. 556-557.) When he hits upon the plan of deceiving with the truth, he boasts thus of his 
astuteness: huic equidem consilio palmam do: hie me magnifice ecfero, qui uim tantam in me et potestatem habeam tantae astutiae, uera dicendo ut eos ambos fallam. 
(vss. 709-711.) 
of rogue because it feeds him and leaves him free from responsibilities (vss. 330 ff.); but he has none of Scapin's faith in his noble calling, which Scapin says, only the ignorant and vulgar would think of designating as "fourberies." Phormio regards himself as a friend and benefactor to Antipho and Phaedria (vss. 556 ff.). Scapin also calls himself an "homme consolatif" and is interested in helping young people (I, 2). But he looks upon himself as a sort of superman who, out of kindness of heart con­sents to solve the problems of inferior mortals. Scapin revels in a sense of power. This trait may have been suggested by Phormio, who is willing to take the whole responsibility in undertaking to help Antipho out of his difficulty. A certain pride in his heroism and superior intelligence is implicit in the following lines: 
Quid uis, nisi uti maneat Phanium atque ex crimine hoc Antiphonem eripiam atque in me omnem iram deriuem senis? ( vss. 322-323.) 
The trait, however, is elaborated and becomes more comical in Scapin. Scapin does not forgive Leandre for humiliating him until Li~andre is on his knees to the crafty valet, nor can he refrain from pushing his vindica­tion still further by later pretending that he has been unable to procure money for Leandre. When Leandre threatens to commit suicide, he graciously saves him by handing over the money which he has collected from Geronte. Scapin like Phormio is fond of food. Phormio's gluttony is dwelt upon (vss. 342 ff.). Scapin's is merely hinted at in the last line of the play: "Et moi, qu'on me porte au bout de la table en attendant que je meure." (III, 13.) Like Geta Scapin assumes a pose of solicitude for his dupes; like Geta he is a shameless flatterer. Geta praises Demipho's eloquence and his intelligence ( vss. 628-629), while Scapin alludes slyly to Argante's charm for women (1, 4). So Scapin's blanishments take a more Gallic and a more amusing form. Thus Phormio and Geta furnish, at most, the cue for Scapin's imperturbability, his boastfulness, and his hypocritical blandishments. But Scapin is neither the cozening slave nor the cynical parasite. He is a much more engaging rogue and one who is attended by a vision of himself as a superior and benevolent person.28 
28Humbert maintains that Scapin is more moral than Phormio. Phormio, he says, has been instrumental in bringing about Antipho's marriage, without his father'1 consent, while Scapin meddles in Octave's affairs only after the marriage has taken place. Humbert is scarcely justified in seeing in this change a deliberate effort, on 
Critics do not agree in their conclusions as to the resemblance of Octave and Leandre to their Latin models, Antipho and Phaedria. Despois says: "Les jeunes amoureux des temps antiques ne different guere des notres."29 Humbert says: "L'amour tout sensuel de la comedie payenne s'est change entre ses mains (i.e. celles de Molere) en un amour chretien, mutuel, et sans tache."30 Humbert is right to this extent, that Zerbinette is never Leandre's mistress and, in the end, marries him. But Humbert is referring particularly to Octave and Antipho when he makes this statement. He bases his contention on the following arguments: (1) Antipho merely desires Phanium and regrets having to marry her; (2) Antipho has no pity for Phanium's wretchedness and poverty; (3) Antipho is interested only in the physical beauty of Phanium. Octave, on the contrary, he maintains, finds a spiritual charm in Hyacinthe, since he says: "Un si hon naturel ... un barbare l'auroit aimee." Humbert maintains that this is an addition of Moliere's. All three of Humbert's statements are inaccurate. Octave marries Hyacinthe only after the servant, Nerine, has refused him admit­tance to the house unless he will marry Hyacinthe. The situation is exactly the same in Phormio.31 It is true that Antipho, in a panic at the thought of his father's return, regrets having married against his father's will: 
"ni fuissem incogitans, ita expectarem, ut par fuit." (vs. 155.) "Quod utinam ne Phormioni id suadere in mentem in­cidisset Neu me cupidum eo inpulisset, quod mihi principiumst mali!" (vss. 157-158.) 
Moliere's part, to make Scapin more moral than Phormio. Moliere perforce omitted Phormio's machinations to bring about the marriage since a point of Athenian law was involved and the scene of Moliere's play is in Naples. Humbert argues further that Phormio is more immoral than Scapin since Scapin is Leandre's servant, mis­treated by him, while Phormio is a parasite who has never seen the two old men whom he undertakes to dupe in order to eat at their table. Phormio's motives, he says, are selfish, while Scapin's are unselfish. It might be answered that Moliere, in making Scapin a valet instead of a parasite, was merely modernizing his play. Moreover, Scapin is willing to dupe the head of the family in which he is a servant in order to help his young master, who mistreats him, conduct that is hardly to be called more moral than Phormio's. Scapin helps Octave and Leandre because he cannot resist the temptation to practice the art in which he is so skillful and because he thereby assumes a role which flatters his vanity and gives him a sense of superiority. Both Scapin and Phormio are immoral; but Scapin is the more sympathetic rogue of the two and by far the more amusing. His immorality is more innocent, as it were, because he is attended by a vision of himself in which he appears as a man of superior intelligence, inordinately proud of his skill in his avocation, the noble art of mystifying, tricking, and cozening his masters. For Humbert's discussion of Scapin, see op. cit., 
p. 13. 
29See the Notice in the Hachette edition, VIII, 390. 
aoop. cit., p. 18. 
aisee p. 14 of this study. 

40 The University of Texas Bulletin 
But he is regretting not so much having married Phanium as having carried out Phormio's suggestions and tricked his father. He believes he could have renounced Phanium with less pain than he is now suffering at the thought of facing his father: 
fuisset tum illos mi aegre aliquod dies, 
At non cottidiana cura haec angeret animum. 
(vss. 159-160.) 

When his father's return is reported to him, however, Phanium seems to him more precious than life. The thought that he may be separated from her is unbearable. 
(uod si eo meae fortunae re<leunt, Phanium, abs te ut distrahar, Nullast mihi uita expetenda. (vss. 201-202.) 
Moliere omits this part of Antipho's role, perhaps in order to avoid in­consistency in the character of Octave. To my mind this emotional fluctua­tion on Antipho's part is in keeping with his timid, and at the same time, impetuous nature. Moliere's omission of this bit of subtle psychology is to be regretted. As to Humbert's second argument, Antipho is touched by Phanium's wretchedness. Geta says that the story of Phanium's grief and poverty touched them all: "Commorat omnis nos." (vs. 101.) More­over the phrase "un si hon naturel," which Humbert ascribes to Moliere is a translation of the Latin "uis boni." Geta describing Phanium says: 
ni uis boni In ipsa inesset forma, haec (her ragged clothes, her tears, etc.) formam extinguerent. (vss. 107-108.) 
It is true that Geta speaks these words in Phormio, while in les Fourberies 
Octave himself speaks them. But, since Moliere transfers the whole 
account of the meeting with the girl from Geta (Silvestre) to Octave 
(Antipho), it is difficult to see any intention of moral heightening on 
Moliere's part, especially when one considers Scapin's cynical reply to this 
remark of Octave's: "En effet, cela est touchant; et je vois que ce hon 
naturel-la vous la fit aimer." (p. 417.) Aside from the one change which 
I have mentioned, Moliere's Octave corresponds exactly to Terence's Anti­
pho. Like Antipho he is timid, timorous, ingenuous, impetuous. 
Humbert maintains that Leandre and Octave are better differentiated in 
les Fourberies than in Phormio. Leandre, he says, is "d'un naturel hardi, homme d'action."82 This contention is open to question. Leandre is as dependent on Scapin as Octave, even to the point of begging on his knees for Scapin's help. Phaedria, as a matter of fact, shows more courage than Leandre. It is he that defends Antipho against Demipho's indignation. Moreover, he handles his own affairs with the slave dealer and only calls on Geta for help wheQ Dorio breaks his promise not to sell Pamphila until Phaedria has tried to raise money among his friends. Leandre appeals to Scapin at once. Moliere has not made Leandre an outstanding character. He is concerned chiefly with Octave and Scapin. 
Silvestre, who corresponds to Geta, has been completely subordinated to Scapin. Most of Geta's role has been transferred to Scapin. Silvestre is Scapin's lieutenant. While Geta puts into execution the plans of Phormio, Silvestre merely lends a hand when Scapin needs help. Scapin executes his own plans. Silvestre recalls the Latin slaves only in his fear of a thrashing: 
Get a  Silvestre  
Seni fidelis dum sum, scapulas  Les reprimandes  ne  sont rien;  et  plut  
perdidi.  (vs. 76.)  au ciel que j'en fusse quitte a ce prix !  
lta  nunc  inparatum  subito  mais  j'ai bien la  mine,  pour  moi,  de  
tanta  te  inpendent  payer plus cher  vos  folies;  et  je vois  
mala;  se  former, de loin,  un  nuage de coups  
Quae neque  uti  deuitem  scio  de batons qui crevera sur mes epaules.  
neque quo modo  me  inde  (Act I, sc. 1, p. 411.)  
extraham;  
Nam  non  potest celari nostra  
diutius iam audacia.  
(vss. 180-182.)  
Geta fears also for  Phormio.  Similarly Silvestre advises Scapin not  to  
take vengeance on Geronte.  

Get a Silvestre 
0, uir fortis atque amicu's. C'est que je vois que, sans necessite, uerum hoc saepe, tu vas courir risque de t'attirer une Phormio, venue de coups de baton. (p. 489.) 
Vereor, ne istaec fortitudo in neruom erumpat denique. ( vss. 324-325.) 
Argante and Geronte owe less to Demipho and Chremes than Octave does to Antipho. Argante, like Demipho, is irascible and flies into a 
a2op. cit., p. 17. 
rage at the news of his son's marriage. Argante, however, is more gullible than Demipho. Demipho never believes the story of the court decree ordering the marriage of Antipho and Phanium, i.e. he never believes Phormio's contention that Phanium's father was his kinsman. Argante readily swallows the story, more plausible, it is true, of Octave's forced marriage. Geta does not succeed in extorting money from Demipho beyond the small amount of the first item in Phormio's budget. Chremes makes up the difference. Demipho is not taken in by Geta's flattery. When Geta reports his conversation with Phormio, in behalf of the "good gentle­man," his master, Demipho asks coldly: "quis te istaec iussit loqui?" 
{vs. 639.) Argante, on the contrary, is clay in Scapin's hands. Scapin successfully combats his avarice by playing upon his cowardice. Cowardice is a trait that we do not find in Demipho. Argante has in common with Demipho his violent temper and his avarice. Moliere exaggerates Argante's gullibility and makes him a coward in addition. 
Geronte does not resemble Chremes in the least. The comedy of Chremes's role lies in the fact that he is the victim of a domineering wife. Geronte's most salient trait is his avarice. Avarice is the stock trait of old men in French comedy of the seventeenth century. In portraying Geronte's avarice, Moliere has followed Cyrano's lead rather than Terence's. Demi­pho's avarice is mentioned by Geta, who says: "Money's his passion" 
(vs. 70) and is revealed in the scene in which Phormio tries to get money from him. Chremes is not avaricious at all, apparently. Geronte's avarice is revealed in such speeches as the following. Offering to reward Scapin for his solicitude, Geronte says: "Tu seras recompense, je t'assure. Je te promets cet habit-ci quand je l'aurois un peu use." (Act III, SC. 2, 
p. 492.) Torn between anxiety for his son's safety and his reluctance to part with his money, Geronte makes the following suggestion for raising the money to pay the ransom: "Tu iras prendre toutes les hardes qui sont dans cette grande manne et tu les vendras aux fripiers pour aller racheter mon fils." (Act II, sc. 7, p. 480.) Similarly Cyrano has his pedant say: "Va prendre dans mes armoires ce pourpoint decoupe que quitta feu mon pere l'annee du grand hyver."33 Like Argante, Geronte is a coward; for he readily yields to Scapin's suggestion that he hide in the sack. By thus exaggerating the stupidity, the gullibility, and the avarice of his two old men, and by making them both cowards, Moliere makes of them typical 
33Cyrano de Bergerac, "Le Pedant joue," Act II, Scene IV, in V. Fournel, Les Contemporains de Moliere, III, 393. 
characters of farce. This change then is in accord with all the other modifications and additions whish Moliere makes. 
It can hardly be maintained that, in imitating the Phormio of Terence, Moliere deliberately heightened the moral tone of his model. That his play is superior in technique is certainly true. By dropping Davus and Nausistrata, who existed in the Latin play merely for the sake of the exposi­tion and the denouement, and by transferring much of Geta's role to Scapin, he has achieved a unity that the Latin play lacked. He has enlivened the exposition by having Octave tell his own story to Scapin in order to per­suade Scapin to help him, and he has, in the same scene, drawn the characters of Scapin and of Octave. By having Scapin extricate himself from his difficulties, he has made the denouement less forced and more comical. Indeed, throughout the play, by his original additions, by the scenes incorporated from other sources, and often by a slight change in the material taken from Terence, he has made his play uniformly farcical. If there were no elements of farce in Phormio, it might be contended that he has profaned his source. But since there are farci­cal elements in the Latin play, it would be more nearly accurate to say that he has achieved a unity of tone that the Phormio does not have. Moreover, Hyacinthe and Zerbinette are his own creations, and Scapin he has skilfully built up from two characters of the Phormio and from the intriguing slave of other comedies of Terence. That his debt to Terence in the matter of details is considerable is evident from my analysis of corresponding scenes. But, since his play is superior in dramaturgy and in comic invention to his model, and since he has altered the tone of the Phormio and made his play a farce of pure fantasy, it can hardly be said that his imitation of Terence, in this case, points to any kinship with the Latin playwright that would justify the conclusion that he chose Terence as the most excellent model whom he could imitate. The nature of the imitation in l'Ecole des maris is more significant, since this is Moliere's first piece athese. 
CHAPTER II 
The Adelphoe and l'Ecole des maris 
The Adelplwe, formerly thought to be the chief source of l'Ecole des maris, has now been relegated by critics to a position of minor importance in the genesis of Moliere's play. Three major sources besides the Adelphoe have been brought to light. One of these, Dorimond's la Femme indus· trieuse, contributed the intrigue of Act II, in which little Terentian influence is apparent. I have, therefore, treated in an appendix the rela· tionship of l'Ecole des maris to la Femme industrieuse. For material formerly attributed to Terence, two sources have been suggested, Pierre de Larivey's les Esprits and Antonio Hurtado de Mendoza's El marido hace mujer, a Spanish comedy played first in 1643. Critics have accepted the one source or the other without comparing the conflicting sources and without weighing the evidence in favor of each. I propose, by a detailed comparison of l' Ecole de maris with the three suggested sources, to arrive at a definite conclusion as to the relative importance of each, and to determine, if possible, the nature and extent of Terence's influence on 
l'Ecole des maris. 
The story of Mendoza's play is as follows: Don Juan, amiable and indulgent, has married Dona Leonor, who is in love with a certain Don Diego. Don Sancho, Juan's younger brother, crusty and severe, has married Dona Juana and proposes to make clear to her his conception of a wife's duty to her husband. At the beginning of the play Juana's ideas of marriage conform more or less to those of her husband. She reproves her sister for her levity just as Juan reproves Sancho for trying to impose "leyes y preceptos locos," saying that Juana will be virtuous only because of Sancho's command and not of her own Accord. Sancho is determined to he everything rather than to he deceived by his wife. Don Juan maintains that confidence inspires obedience. Sancho meets his servant, Moron, carrying a note from Diego to Leonor. He tries to take the note. Juan interferes, reads the note, gives it back to Moron, and tells Leonor of the incident, hut does not say that the note was addressed to her. Leonor, however, guesses the truth and starts to the Prado to meet Don Diego. Juana tries to dissuade her; hut, failing, prepares to leave with her. Juan gives Leonor permission to go. Sancho orders Juana to stay at home. Leonor, impressed by Juan's generosity. 
resolves to be loyal; Juana, to take vengeance on Sancho. Juana goes to the Prado, where she meets Don Diego and there Sancho points her out to Juan, thinking she is Leonor. Juan returns home. Sancho upbraids Juana (whom he believes to be Leonor) for deceiving his brother, but he thinks Juan well punished for his stupid indulgence. When the entangle­ment is finally cleared up, an uncle of Juan and Sancho enters as a sort of deus ex machina and saves Juana from Sancho's vengeance. 
Terence's play also is concerned with two brothers. Demea, who has married and had two sons, Aeschinus and Ctesipho, has lived a frugal and austere life. His brother, Micio, indulgent man of the world, has never married and has lived a life of ease. He has adopted Aeschinus and is rearing him in accordance with his theory that tolerance and faith are more effective with young people than severity. Demea disapproves of Aeschinus's pecadilloes and fears not only for Aeschinus but for Ctesipho, whom he has reared carefully according to his own theories. He quarrels violently with Micio for being so indulgent with Aeschinus and says he is afraid that Aeschinus will corrupt Ctesipho. He announces to Micio that Aeschinus has brokeq into a house, beaten the owner, and carried off the girl he loved. In reality, Aeschinus has stolen the girl for Ctesipho and has taken her to Micio's house. Aeschinus is the lover of Sostrata's daughter, Pamphila, and has promised to marry her. Sostrata hears of Aeschinus's escapade and thinks him unfaithful. Hegio, a kinsman of Sostrata, com­plains of Aeschinus's conduct to Demea. Demea goes in search of Micio. In the meantime Hegio finds Micio and tells him the story of Pamphila's betrayal. Aeschinus goes to Sostrata's house to clear the matter up and there finds Micio, to whom he finally confesses, and is given permission to marry Pamphila. Preparations are made for the wedding. Demea discovers that the cithern-girl is Ctesipho's mistress. He suddenly decides to practice the indulgent philosophy of his brother, not because he believes in it, but because he thinks it will profit him more.1 
1The story of Les Esprits is as follows: 
Characters 
Hilaire, vieillard Desire, amoureux 
Elizabet, sa fem me Severin, vieillard 
Urbain, amoureux M. Josse, sorcier 
Ruffin, maquereau Pasquette, servante 
Fortune, amoureux Gerard, vieillard 

Frontin, serviteur de Fortune 
Hilaire has adopted his brother's son Fortune, with whom he is most indulgent, holding that children cannot be controlled by force but must be taught to obey through love. His wife remonstrates with him and he replies that if he tried to use severity with Fortune his conduct would be much worse. His brother, Severin, miserly country. man, has pursued with his two remaining children, a son and a daughter, the opposite course with the result that Urbain, the son, is living a licentious life unknown to his father. The latter thinks that by keeping Urbain in the country, away from the corruption of the city, he will make him live an austere and virtuous life. His daughter he forces to work on his farm and refuses to give her a dowry. Elizabet tells Hilaire that she has heard that Fortune is in love with a nun. Fontin, servant to Fortune, admits as much to Hilaire, but says that the girl is only a novice placed in the convent against her will. She is rich and the nuns hope to get her property. Hilaire tells Frontin to advise Fortune to give the girl up. Ruffin, a pander, secures for Urbain a girl, Feliciane, with whom he has fallen in love, for which service he demands ten ecus. Desire, in love with Urbain's sister, cannot marry her because his father refuses to allow the marriage unless the girl brings at least 1000 ecus as dowry. 
Severin arrives from the country while Urbain and Feliciane are in his house. Frontin, to keep him from entering, tells him that the house is occupied by devils. Warned by Frontin, Urbain and Feliciane make a great hubbub to keep the old man away. Severin is carrying with him a purse containing 2000 ecus. Unable to enter his house, he buries it in a hole after dismissing Frontin. Desire, however, sees him bury the money. When Severin leaves, he steals it, filling the purse with rocks. Frontin promises to get a sorcerer to drive the devils out of Severin's house. Frontin promises M. Josse two ecus to pretend to chase away the spirits. M. Josse does so. He conjures the spirits, who promise. to leave, but as a sign insists on taking a ring away from Severin, who finally submits to being blindfolded and having the ring taken from his finger. Ruffin, who has not been paid by Urbain, reports to Severin that Urbain has stolen his niece and demands reparation. Severin discovers that his purse has been stolen. Hilaire asks Fortune to give up the novice and Fortune promises to try to obey him. Severin tells Hilaire of the loss of his money and his ring and of Urbain's escapade, and reproaches him with having led Urbain astray. Pasquette, a servant of Hilaire, reports to him that the novice has had a child by Fortune. Hilaire arranges a marriage with the consent of the prioress. The father of Urbain's sweet­heart returns and gives the girl in marriage to Urbain with a dowry of 5000 ecus. Urbain gives 1000 as a dowry to his sister and Desire returns the purse to Severin on the condition that Severin consent to his marriage. Severin consents, being concerned about nothing but his purse. 
The story of l' Ecole des maris is as follows: 
Ariste, Moliere's philosopher of indulgence and easy-going acceptance, and his severe brother, Sganarelle, have been made guardians of Leonor and Isabelle respectively, with the understanding that they will some day marry them. Sganarelle has set to work to train Isabelle to tread the straight and narrow path of the dutiful wife of an anti-social and old­fashioned husband who does not want to wear horns if he can help it. Isabelle loves Valere and conveys the fact to him through Sganarelle himself, who thinks he is reporting to Valere Isabelle's reproaches for his flirtation. Fearing that her plan has miscarried, Isabelle pretends that Valere has thrown into her window a box containing a note, and asks Sganarelle to return it unopened to Val ere. In the note she tells V alere that she loves him and asks what his intentions are. Valere tells Sganarelle that before he knew that Isabelle was Sganarelle's fiancee, he had hoped to marry her. Sganarelle reports this to Isabelle, who then plans to 
Moliere and Terence, A Study in Moliere' s Realism 4 7 
suggest an elopement to Valere by pretending to Sganarelle that V alere has already attempted to abduct her. Sganarelle again reproves Valere and offers to bring him and Isabelle together so that Isabelle can tell him herself what she thinks of his attentions. She manages to convey to Valere that he must save her from Sganarelle by marrying her at once. Sganarelle decides to marry her at once himself. Isabelle tells Sganarelle that Leonor loves V alere and has persuaded her to allow her to talk to him disguised as Isabelle. Isabelle goes to Valere's house. Sganarelle, seeing her, thinks it is Leonor, and follows. He gets a notary to marry them. Then he goes for Ariste, whom he twits by quoting iron­ically the arguments that Ariste has used in attempting to convert him. Leonor appears and Ariste reproaches her. As she protests, Isabelle enters and asks her forgiveness for having made use of her name in order to deceive Sganarelle. Sganarelle, not at all convinced that his policy has been the cause of his defeat, concludes that all women are deceitful and 
ungrateful. 
It is evident from the analysis of the plots that superficially, El marido 
hace mujer would seem to be the most important of the three suggested 
sources. This play deals with two young women instead of two young 
men, as does Moliere's play. These two young women are the wives of the 
two brothers who hold contrasting views of a husband's proper attitude 
towards his wife. In the Adelphoe and in les Esprits, the young men are 
the sons of the severe brother and one of the young men has been adopted 
by the indulgent brother. In l'Ecole des maris, the two brothers are the 
guardians and fiances of the two young women, a situation apparently 
much closer to that in the Spanish play, but still a situation which 
would obviously enable Moliere to use material from all three of the 
suggested sources. This superficial resemblance of the plot of l' Ecole des 
maris to that of El marido hace mujer has led critics to believe that the 
Spanish play is, indeed, the chief source of Moliere's play. This view 
was the more readily accepted because, even before the appearance of 
M. Martinenche's article on the Spanish sources of l'Ecole des maris,2 there had been a tendency to minimize the importance of the Adelphoe as a source of l' Ecole des maris. A brief summary of the trend of criticism will serve to show the attitude, past and present, toward the question of Terentian influence in l'Ecole des maris. 
2"Les Sources de l'Ecole des maris," Revue d'histoire litteraire. V (1898), 110-116. The material in this article was afterwards incorporated in M. Martinenche's book, Moliere et le theatre espagnol (Paris, 1910). 
The Adelphoe had early been pointed out as a source of l'Ecole des maris.3 Moland and Despois, editors of Moliere, accord Terence credit at least for the contrast between the characters of the two brothers, and for their contrasting systems of education; in short, for the central idea, the thesis of l'Ecole des maris. Moland says: 
La comedie des Adelphes, de Terence, a fourni d'abord le contraste des deux freres, des deux tuteurs, dont l'un est severe et bourru, et l'autre bien­veillant et indulgent.4 
He then quotes the opening scene of the Adelplwe in which Micio, in a long monologue, explains his philosophy of education and complains of the opposition of his brother and continues: 
Voila bien l'idee principale qui se retrouve clans l'Ecole des maris. Mais Moliere, en substituant deux jeunes filles aux deux jeunes gens des Adelphes, et l'interet vif et piquant des deux tuteurs amoureux a celui d'un pere et d'un oncle, a rendu sa composition plus comique. II a de plus donne une con­clusion a sa comedie: tandis que Terence s'est contente de faire sentir le vice des deux systemes opposes, mais egalement dangereux, et qu'il punit a la /ois ['indulgence et la rigueur, Moliere renferme son denouement et sa moralite clans le fruit que chacun des freres recueille de sa fai;on d'agir.5 (The italics are mine). 
Despois grants still less of a debt to Terence than Moland: 
C'est aux Adelphes de Terence que Moliere a emprunte l'idee de l'Ecole des maris; clans cette piece, imitee d'ailleurs de Menandre, le poete latin introduit deux freres qui ont, sur !'education a donner a leurs enfants, des principes tout opposes; l'un croit qu'on ne saurait etre trop indulgent pour la jeunesse, l'autre qu'on doit se montrer severe et ne rien Jui passer. Mais la ressemblance se borne la. D'abord, clans Les Adelphes, c'est sur deux jeunes gari;ons que se fait cette double epreuve; et de plus elle aboutit a peu pres au meme resultat: les deux jeunes gens tournent assez mal. Puis, Terence n'a pas oppose un sage comme l'Ariste de Moliere a un sot comme Sganarelle et ii semble avoir voulu montrer que les deux srstemes ont a peu pres les memes inconvenients. Baron, en imitant plus tard les Adelphes a intitule sa piece l'Ecole des peres, et ce titre suflirait 
pour indiquer que l'interet de la piece antique est fort different de celui qui /ait le fond de l'Ecole des maris. On voit que les obligations de Moliere a l'egard de Terence se reduisent a bien peu de chose; et !'on pourrait 
BL. Bordelo~, ''.Dial~gue cr_itique clans les Champs Elisees," Diversitez curieuses pour servir de recreation a l'espnt (Amsterdam, 1699), IX, 5~7. 6Moliere, Oeuvres, ed. Moland, IV, 54. 5/bid., pp. 55-56. 
meme douter qu'il lui eut emprunte l'idee de contraste au lieu de l'aller chercher dans !'observation du monde reel, si quelques imitations de detail, fort rares d'ailleurs, ne prouvaient que Moliere en composant sa piece, s'est souvenu du poete latin.6 (The italics are mine.) 
Mahrenholtz is chiefly concerned with corresponding characters. He maintains that Ariste and Sganarelle resemble but slightly Micio and Demea. Ariste's principles, he says, come from mature experience; Micio's from weakness. Ariste is always trying to convert his brother, while Micio is always on the defensive. Ariste has led a moral life while Micio, he maintains, has the vices of the Roman aristocracy. He calls Micio an epicurean without any fixed moral principles. Sganarelle also, he main­tains, is different from Demea. They are both miserly, unlovable enemies of all that makes life beautiful, but Sganarelle exaggerates his principles until they are the narrowest moral strictness. Demea opposes to the lax principles of his brother and his pernicious influence over his own son the strong morality of a simple life unacquainted with the ways of the city. Demea, since with costly irony he adopts his brother's teaching and exaggerates it to the point of being ridiculous, carries off the palm. Aeschinus declares in his name and his brother's that they henceforward wish to live according to Demea's principles. Mahrenholtz, then, does not believe that Demea undergoes a sincere change of heart in the end, but that his plan of exaggerating Micio's policy of indulgence successfully demonstrates the folly of the system of indulgence.7 
Wolff, on the other hand, believes that Demea is metamorphosed into a generous and indulgent father, and yet, inconsistently enough, maintains that the thesis of the Adelphoe is the futility of both systems.8 In 1898 
M. Martinenche brought to light a Spanish play which he considers the chief source of l'Ecole des maris. He contends that the first and third acts, acts formerly thought to be based on Terence's play, are drawn from El Marido hace mujer, a comedy of Antonio Hurtado de Mendoza played at Madrid in 1643.9 
According to M. Martinenche, Moliere could have got only one idea from the Adelphoe, namely that of the contrasting characters of the 
BMoliere, Oeuvres, Hachette ed., II, 339. T"Moliere und die romische Komodie," Herrig's Archiv fur das Studium der Neueren Sprachen, LVI (1876), 241-264. BMax J. Wolff, Moliere: der Dichter und sein Werk, (Miinchen, without date), pp. 246, 487. 9"Les Sources de l'Ecole des maris," Revue d'histoire litteraire, V (1898), 110­116). 
brothers, and he did not find it in Terence says M. Martinenche, but in Mendoza. 
Et la seule idee que Moliere pouvait emprunter aux Adelphes, l'antithese chez Jes deux freres de la douceur bienveillante et de la severite grondeuse, c'est certainement chez Mendoza qu'il I'a rencontree.10 (The italics are mine.) 
M. Michaut accepts M. Martinenche's conclusions. He says: 
Dans !es Adelphes de Terence se trouvaient deja opposes deux systemes d'education, la methode de severite et la methode d'indulgence. Or ii n'est pas douteux que Moliere n'ait lu Terence; ii l'avait particulierement cultive des le college et meme, dit la Preface de 1682, choisi "comme le plus excellent modele qu'il eut a se proposer;,, d'ailleurs quelques imitations de details attestent qu'il avait present a ['esprit le souvenir des Adelphes. Mais Terence a pris pour sujet !'education de jeunes gan;ons, et, si quelque enseignement ressort de sa comedie, c'est que les deux systemes opposes ne sont pas meilleurs l'un que l'autre, puisque tous deux font faillite.11 
(The. italics are mine.) 
Finally, M. Michaut gives credit to Mendoza for Acts I and III of l'Ecole des maris: 
On voit des lors comment Moliere a construit sa piece. II a procede par contamination, comme Jes comiques latins. Mendoza Jui a fourni ses actes I et III, Dorimond son acte II; et, par une espece de symbole, il a emprunte a Mendoza le nom d'une de ses heroines, Leonor, a Dorimond, le nom de l'autre, lsabelle.12 
Guido Wenzel, in an article on Larivey's influence on Moliere, gives Larivey credit for the central idea of l' Ecole des maris: 
Die "Esprits" lieferten ihm (Moliere) die Sujets zu swei seinen besseren Komodien, zur "Ecole des maris" und zum "Avare." Die ldee der Miinner­schule ist schon sehr alt; Plautus und Terenz hatten sich bereits dieses Stofles bemiichtigt, nach ihnen die Italiener und dan wieder Larivey. Molieres Stiick hat mit den Lariveyschen "Esprits" in Bezug auf Gang, Handlung, Darstellung einzelner Scenen gar nichts gemein. Nur die Grundidee, die verschiedenfache Erziehung zweier jungen Manner durch zwei Briider ungleichen Characters, nahm Moliere auf.1s 
Wenzel makes no attempt to prove that Moliere took his subject from Larivey rather than from Terence. He merely calls attention to the simi· larity of theme. Moreover, he states that there is no imitation of detail 
l00p. cit., p. lll. 
nOp. cit., pp. l18-l19. 
12/l>;d., p. 120. 
130p. cit., p. 74. 

and no debt in the matter of intrigue. M. Michaut dismisses the question of Larivey' s influence in one sentence: "Moliere a pu lire les Esprits de Larivey; mais il n'y aura rien trouve qui ne fiit deja dans Terence.14 
In order to determine the extent of Terence's influence on l' Ecole des maris, then, one must first settle the question of the relative importance of El marido hace mujer and the Adelphoe as sources of Moliere's philoso­phy of education. The following arguments have been advanced to show the insignificance of the Terentian influence and to prove that Moliere used the Spanish play as the basis of l'Ecole des maris: 
(1) 
Since both Terence's young men turn out rather badly, he advocated neither the system of indulgence nor that of severity. He shows, rather, a pessimistic view of human nature. 

(2) 
The subject of Terence's play is very different from that of Moliere's. It is a school for fathers, not for husbands. It deals with the edu­cation of two young men, quite a different thing from the education of two young women. Mendoza's play offers the situation of two young women under the guardianship of two men whose views are opposed and shows the downfall of severity and the triumph of tolerance, exactly the situation in Moliere's play. 

(3) 
The only hint that Moliere could have got from Terence's play is the contrast between the ill-tempered Puritan and the bland man of the world, a contrast that Moliere took assuredly, maintains Martinenche, from Mendoza. 

(4) 
The two brothers in Moliere's play resemble more closely the two brothers of Mendoza's play than those of the Adelphoe. Micio is less admirable than Ariste and Demea more so than Sganarelle. Mahrenholtz, for instance, says that Ariste's principles come from mature experience, Micio's from weakness. Ariste is always trying to convert his brother, whereas Micio is always on the defensive. Ariste has led a moral life, while Micio has the vices of the Roman aristocracy.15 


Terence's nihilism, emphasized by students of Moliere, is open to ques­tion. The following comment of Wolff states explicitly the idea that is implicit in the contention of French critics that Micio's system, as well as Demea's is a failure: 
140p. cit., p.119. 
150p. cit., p. 245. 

Er (Moliere) folgt dem pessimistischen Terenz nicht, der zum Schluss die milde wie die strenge Verhandlung verwirft, da die menschliche Natur schlecht sei und nicht gebessert werden konne. Fiir den optimistischen modernen Dichter bedeute die Natur das Gute.16 
This argument is based on a misinterpretation of Terence. It is significant that another critic, dealing only with the .Latin author, has a different point of view. To him the system of indulgence seems to triumph in Terence's play. Aeschinus he looks upon as a sympathetic and admirable character. 

Aeschinus in the Adelphoe is a generous, frank, strong character, of a bold self.reliance, yet modest. He makes the most admirable picture of all of Terence's young men. He adores his adopted father, has a deep affection for his brother, is beloved by the slaves, and yet, with these graces, he is self-reliant and can take a hand in a difficult situation as Sannio, the slave-merchant, learns to his sorrow.17 
But the evidence in the play itself that Terence meant Aeschinus to be sympathetic is convincing enough. Micio says: 
Quae ego inesse in illis uideo, ut confidam fore lta ut uolumus. uideo eos sapere, intellegere, in loco Vereri, inter se amare: seiris liberum lngenium atque animum: quo uis illos tu die Redducas. (vss. 826-830.) 
Canthara finds Aeschinus: 
"Talem, tali ingenio atque animo, natum ex tanta familia." (vs. 297.) 
Aeschinus repents of not having taken his father into his confidence. The effect of Micio's sympathetic attitude he describes thus: 
ltaque adeo magnam mi inicit sua commoditate curam, Ne inprudens faciam forte quod nolit. (vss. 710, 711.) 
Donatus, in his preface to the Adelphoe, describes Aeschinus as consist· ently "liberalis."18 From this evidence I think I am justified in concluding that Terence advocated, as did Moliere, the system of indulgence. The question remains, could Moliere have got this idea from El marido hace mujer rather than from Terence? Yes and no. Leonor of the Spanish 
160p. cit., p. 246. 17G. Kenneth G. Henry, "The Characters of Terence," (University of North Caro­lina) Studies in Philology, XII (1915), 70. 18Commentum Terenti, ed. Wessner (Leipsig, 1905), II, 8. 
play, like Moliere's Leonor, like Terence's Aeschinus, touched by Don Juan's kindness, resolves to do nothing to displease him. But in the Spanish play there is a complete change in both Juana and Leonor as a result of their treatment at the hands of their respective husbands. Leonor renounces Don Diego, whom she loves, while Juana seeks him without being in love with him. It is a commonplace of Spanish drama that women are naturally perverse and will do what they are forbidden to do. Hence the failure of Sancho's system. Moliere, had he wanted to preach the same philosophy as the Spanish playwright, would have made Leonor the fiancee of Sgana· relle. Moliere puts the Spanish satire of women's perversity into the mouth of Lisette and that of Sganarelle, who, in his rage at the failure of his carefully laid plans, attributes his undoing to the perversity of 
women, and his final speech is intended to make the spectators laugh at his blindness and extravagance, his incorigibility. 
Moliere like Terence was thoroughly out of sympathy with the idea 
that character can _be moulded at will by outside influence whether it be 
kind or severe. He maintains only that to try to chase away the natural 
is to make it return at a gallop. It has been asked what Ariste would 
have done if Leonor, not Isabelle, had been in love with Valere. This is 
exactly the situation as we find it in the Spanish play. He would hardly 
have hoped to change her completely, as Juan did Leonor. Indeed, 
Ariste says himself: 
Un ordre paternel !'oblige a m'epouser; 
Mais mon dessein n'est pas de la tyranniser. 
Je sais bien que nos ans ne se rapportent guere, 
Et je laisse a SOil choix liberte tout entiere. 
Et j'aime mieux la voir sous un autre hymenee Que si contre son gre sa main m'etoit donnee. ( vss.197-200, 207-208.) 
And when he thinks she is in love with Valere, he is willing to have her marry him. Ariste's system is, after all, no system at all, in that he has no intention of changing to suit himself the character or the conduct of Leonor. Neither Moliere nor Terence could have such faith in the efficacy of systems, of which both are inclined to be skeptical, a skepticism well illustrated by l' Ecole des femmes. Arnolphe's helplessness at the hands of two youngsters is, I believe, the chief interest of l' Ecole des femmes. Uranie in la Critique says: 
54 The University of Texas Bulletin 
Pour mo1, Je trouve que la beaute du sujet de l'Ecole des femmes con· siste clans cette confidence perpetuelle; et ce qui me paroit plaisant, c'est qu'un homme qui a de !'esprit, et qui est averti de tout par une innocente qui est sa maitresse, et par un etourdi qui est son rival, ne puisse avec cela eviter ce qui Jui arrive.19 
This play is the reductio ad absurdum of the idea that one individual can bend another's character to his will. Yet both Moliere and Terence trust human nature. Micio says, speaking to Demea of his two sons: 
seiris liherum 
lngenium atque animum : quo uis illos tu die 
Redducas. ( vss. 828-830.) 

It has been contended that not only is Moliere's view of human nature much more optimistic than Terence's but that the subject is fundamentally different from that of the Adelphoe, since l' Ecole des maris is a school for husbands while the Adelphoe is a school for fathers. This appears to be a well justified point until one examines certain verbal echoes of Terence's play in that of Moliere. Very important, it seems to me, are the following parallel passages : 
Micio Ariste 
et tu ilium tuom, si Je ne suivrois jamais ces 
esses homo, maximes severes 

Sineres nunc facere, dum per Qui font que les en/ants aetatem licet, comptent Les jours des Potius quam, ubi te expectatum peres. ( vss. 211-212.) eiecisset foras, Alieniore aetate post faceret 
tamen. (vss. 107-110.) (And if you were flesh and blood you would allow that son of yours to do it 
now, while his youth makes it reason· able, rather than have him look for­ward to tumbling your corpse out of doors and then at a less fitting time of life run riot for all your care.) 
This echo of Terence in Moliere proves one of two things. Either Moliere was stressing the relation of guardian rather than that of husband, or he was following the text of Terence so closely and hurriedly that he failed to notice the inappropriateness of this line for his subject. The first 
191\foliere, Oeuvres, Hachette ed., III, 364. 
explanation seems more probable in the light of the following passages. Ariste like Micio is generous and is willing to indulge his ward's whims. 
Micio  Ariste  
Obsonat,  potat,  olet  unguenta:  J'ai  souffert  qu'elle  ait  vu  
de meo;  !es  belles  compagnies,  
Amat:  dabitur  a  me  argentum,  Les  divertissements,  !es  bals,  
dum  erit  commodum;  les comedies;  
Ce sont choses, pour moi, que  
Est u nde haec fiant, et adhuc  je tiens de tous temps  
non  molesta  sunt,  Fort propres a former !'esprit  
(vss. 117-118,  122.)  des  jeunes  gens;  
Elle aime  a depenser  en  habits,  
linge  et  noeuds.  
Que  voulez-vous?  Je  tache  a  
contenter  ses  voeux.  
Et  ce  sont  des  plaisirs qu'on  
peut, dans  nos  fa­ 
milies  
Lorsque !'on  a  du  bien, permettre  
aux  jeunes  filles.  
(vss.  187-190, 193-196.)  

Ariste and Micio have an attitude of worldly tolerance towards the frivolity of Leonor and of Aeschinus: 
Micio Ariste Non est flagitium, mihi crede, Des moindres libertes, je n'ai adulescentulum point fait des crimes. Scortari, neque potare: non (vs. 184.) est. (vss. 101-102.) 
This indulgence is based on a knowledge of the world and a faith in human nature: 
AristeMicio 
Et l'ecole du monde en !'air quicquam iniustiust, dont ii faut vivre Qui nisi quod ipse fecit nil lnstruit mieux, a mon gre, rectum putat. que ne fait aucun 
Romine imperito numquam 
(vss. 98-99.) livre. (vss. 191-192.) 
Micio makes three points: (1) The pecadilloes of his son are not heinous crimes. (2) Since he is opulent, he sees no harm in indulging him. (3) By indulging Aeschinus, he is allowing him to get a knowledge of the world. Ariste follows his argument point by point. Only the details are changed to fit the situation in rEcole des maris. This close parallelism in the exposition of a philosophy of education would seem to indicate that Moliere was not aware that his subject was so different from that of Terence. It is perhaps Terence's worldly point of view that has led critics to say that Terence is convinced of the futility of both systems; rather, it is the failure to understand this worldly point of view. Aeschinus's escapades do not convince Micio that Aeschinus's character is despicable. He sees only the natural peccadilloes of youth, though Aeschinus does at times try his patience. Ariste expresses the same view of Leonor's frivolity. 
Ariste, like Micio, does not believe in the efficacy of outward force to bend one individual to another's will. He trusts the loyalty and affection of the free individual: 
Micfo Ariste Pudore et liberalitate liberos C'est l'honneur qui !es doit Retinere satius esse credo quam tenir dans le devoir 
metu. (vss. 57-58.) Non la severite que nous leur Et errat longe mea quidem sen­faisons voir. tentia, (vss. 169-170.) Qui imperium credat grauius C'est une etrange chose, a esse aut stabilius, vous parler sans Vi quod fit, quam illud quod feinte, amicitia adiungitur. Qu'une femme qui n'est sage (vu. 6.5--67.) que par contrainte. 
En vain sur tous ses pas nous pretendons regner: 1e trouve que le coeur est ce qu'il faut gagner. 
(vss. 171-174.) 
Both Micio and Ariste think that tyranny is a precarious and, at best, a temporary curb: 
Micio Ariste Malo coactus qui suom officium Et je ne tiendrois, moi, quel, facit, que soin qu'on se Dum id rescitum iri credit, donne, tantisper pauet; Mon honneur guere sfir, aux Si sperat fore clam, rursum ad mains d'une personne ingenium redit. A qui dans !es desirs qui ( vss. 69-71.) pourroient l'assail­lir, 
Il ne 	manqueroit rien qu'un moyen de faillir. 
(vss. 175-178.) 
The Spanish play offers somewhat similar passages: 
Don Juan: La mujer que mas se muestra 
Flaca, cuando va a perderse, 
Firme suele mantenerse 
En la confianza nuestra; 

Mas si con desconfianza La tratamos, vengativa, Todo lo arrastra y derriha, Hasta la misma esperanza. 
(p.423.) 
Don Juan: Y ved, hermano, por Dios, 
Que la ofendeis, pues ansi 
Lo que ella hiciera por si 
Creereis que lo hara por vos. 

Quitaisle en tan llaca muestra Una gloria, en que os arguya Que a lo que es decencia suya Llamareis prevencion vuestra. 
(p. 423.) 
It is to be noted, however, that Terence and Moliere emphasize the futility of trying to cross a person's natural bent, while Mendoza stresses the perversity of women, who are determined not to be what their husbands wish them to be. Don Juan says also: 
Vos no quereis entenderlo Que es decir a una mujer Todo lo que no ha de hacer Decirla que puede hacerlo. 
(p. 423.) 
There is an echo of this idea in Moliere, not in Ariste, but in a speech of Lisette's: 
Lisette: C'est nous inspirer presque un desir de pecher 
Que montrer tant de soins de nous en empecher. 
( vss. 157-158.) 

This idea may therefore be considered rather as characteristic of Lisette than as expressing the author's philosophy. In the Spanish play Don Juan voices this sentiment and Don Juan is the mouthpiece of the author. Leonor, to be sure, hints that she agrees with Lisette, but the idea is not elaborated.20 
20"Leonor: Mais je sais ce qu'en moi feroit la defiance." (vs. 139.) 
Sganarelle, like Sancho, believes that character is made, not born: 
Sancho Sganarelle Cualquiera, no como nace, Ma foi, les filles sont ce Como vive, tiene el nonibre, que I'on !es fait La sangre es tiempo perdido, etre.21 El marido hace mujer. (vs. 511.) 
(p. 431.) 
But see also the Adelphoe, verse 399, where Syrus says ironically to Demea, whom he is duping: "Syrus: Vt quisque suom uolt esse, itast." Both Sganarelle and Sancho are defeated and duped. In this respect the Spanish play seems to coincide with Terence and Moliere. But, as I have pointed out, no complete change of heart is effected in Terence or in Moliere, while both Juana and Leonor about-face and, after all, as Juana says, "el marido hace mujer"; but not the exacting husband, the indulgent one. Not only Sancho, then, but also Juan and Juana believe that character can be moulded at will. The subtitle of Mendoza's play is "El trato muda costumbre." At the end of the play, Juana announces the moral of the play, "El marido hace mujer." She means, of course, that tolerance and trust bring the desired results, while tyranny and suspicion defeat them selves. Moliere's play points to the latter moral, perhaps, but Sganarelle's treatment does not effect a complete change for the worse in Isabelle, while neither Micio nor Ariste expresses any such optimistic view of the system of indulgence as is set forth in the Spanish play. Despite the apparent agreement, then, of Sganarelle's attitude with Sancho's, Moliere is following Terence rather than Mendoza. 
Moliere's philosophy of education, far from differing radically from Terence's, as critics have maintained, follows Terence's point by point. Neither Terence nor Moliere believes that a person's whole character can be changed by the treatment which he receives from those in whose control he finds himself. Both believe that the best in his nature can be brought out by indulgence and confidence. Undue restraint of his natural inclina­tions does not rid him of these inclinations hut leads to the surreptitious indulgence of them. In the Spanish play, on the other hand, Juan believes that trust is the best policy towards women, who become vindictive if they are the victims of tyranny. Juan's indulgence towards Leonor effects in her a complete change of heart; while Sancho's severity results in quite as complete a change in Juana, but in the other direction. Neither Ariste's 
21Noted by Martinenche. 
nor Micio's policy brings about any such miracle; Sganarelle's system fails as does Sancho's, and as does Demea's, for that matter. But Moliere does not push his thesis so far as Mendoza; for Sancho's severity changes Juana's attitude of submission to one of rebellion and drives her into a flirtation with a man whom she does not love. Moreover, Ariste's views of education are all expressed from the point of view of a guardian rather than of a fiance or husband. Juan, on the other hand, is interested only in the question of a husband's attitude towards a wife. Indulgence seems to him the best means of avoiding betrayal, because women held in subjection become vindictive and delight in disobedience. 
Moliere's philosophy of education is, then, that of Terence, rather than that of Mendoza. Since Hilaire, in les Esprits, however, advances the same theories of education as Micio, the question arises: Did Moliere get his material indirectly from Terence through Larivey? 22 Hilaire discusses his theories with his wife, Elizabet, who is not altogether unsympathetic with Hilaire's policy. In l'Ecole des maris, two brothers, holding views diametrically opposed argue with some acerbity. Thus the situation in le.• F.sprits is different from that in l' Ecole des maris. 
Larivey takes his theories of education from Micio's long monologue at the beginning of the Adelphoe. Moliere also uses material from this monologue; but, in addition, he imitates the dialogue between Micio and Demea which constitutes the rest of Act I of the Adelphoe. In this scene Micio and Demea argue, with a great deal of heat on Demea's part, about the education of Demea's two sons. Besides the similarity of situation, there is a verbal parallelism which leaves no doubt that Moliere followed this scene in the construction of Act I of his play. Since Larivey does not use this scene or take any material from it, Moliere must have got his material directly from Terence. 
It is possible that he knew les Esprits; but, at most, this play suggested only one or two points in the structure of Act I. L' Ecole des maris is closer to les Esprits than to the Adelphoe in one respect. Severin instead of reproaching Hilaire with ruining the son whom he (Hilaire) has adopted, accuses him of corrupting the son whom he himself has reared. Similarly, Sganarelle accuses Ariste and Leonor of corrupting Isabelle. It is hardly to be supposed, however, that this point shows any influence of les Esprits. The idea is already in Terence, since Demea calls Micio the 
22Larivey's play is a translation of an Italian play, which, in turn, is based on the Adelphoe of Terence and the Aulularia of Plautus. 
corrupting spirit of both his sons. (vss. 792-793.) The change, moreover, was imposed on Moliere by the difference in situation in his play. Aeschinus is Demea's own son. Sganarelle has no claim on Leonor. He cannot interfere with Ariste's treatment of his own ward. 
The thesis of l' Ecole des maris, then, is the same as that of the Adelphoe, and Moliere took his exposition of a system of education directly from Terence. Ariste's philosophy corresponds exactly to Micio's. El marido hace mujer contributed only the idea that tyranny begets in women the desire to sin, an idea which is the thesis of the Spanish play. Moliere, by having Lisette and not Ariste, express this idea, makes of it merely a minor theme in his play, and appropriately so, since his Isabelle does not deceive Sganarelle and flirt with Valere through sheer perversity and in a spirit of vengeance, as does Juana in the Spanish play. 
The parallelism between Moliere's exposition of Ariste's theories of education and that of Micio's theories in the Adelphoe would alone be enough to refute M. Michaut's statements that Moliere merely "avait present a!'esprit le souvenir des Adelphes" and that he constructed Act I of !'Ecole des maris with material drawn from El marido hace mujer.23 The question remains: What contribution did the Adelphoe make to the rest of l' Ecole des maris and what material did Moliere take from El marido? What is the relative importance of the Adelphoe and El marido hace mujer as sources of l' Ecole des maris aside from the theme of the play? 
In addition to the passages dealing with the contrasting views of educa­tion, there are other reminiscences of Terence in l' Ecole des maris which, while less significant than those which I have already pointed out, show that Moliere was following the text of the Latin play much more closely than critics would have us believe. Miaio protests against Demea's meddling in his rearing of Aeschinus. Moliere, reversing the roles, has Sganarelle protest in somewhat similar terms against Ariste's objections 
to his policy:  
Muerum, Demea, Curemus aequam tu alterum, Ego item alterum. (vss. 129-131.)  icio uterque  partem:  Sganarelle D'elever celle-18. vous prites le souci, Et moi, je me chargeai de celle-ci ; Selon vos volontes vous vernez la votre;  du soin gou­ 

2aOp. cit., pp. 118, 120. 
Moliere and Terence, A Study in Moliere's Realism 61 
Micio Sganarelle Laissez-moi, je vous prie, a mon gre regir l'autre. (vss. 105-108.) 
The Spanish play offers a similar passage. It is closer to the passage in l'Ecole des maris in that Sancho (Sganarelle) protests against Juan's meddling: 
Discretisimo seiior, 
Seguid vos lo confiado, Yo Io temido, y veremos Quien hace de ambos extremos EI suyo mas desdichado. 
(p. 423.) 
But the words of the French are closer to the Latin. Sganarelle, like Demea, fears that his own ward will be corrupted by associating with his brother's ward: 
Dem ea Sganarelle Id misero restat mihi mali, Oui, vous me la gatez, puis­si ilium potest, qu'il faut parler net. Qui aliquoi reist etiam, eum Vos visites ici ne font que ad nequitiem adducere. me deplaire, (vss. 357-358.) Et vous m'obligerez de ne nous en plus faire. (vss. 134-136.) 
Sganarelle proposes to take Isabelle to the country to avoid the corrupting influence of association with Leonor: 
Isabelle pourroit perdre dans ces hantises Les semences d'honneur qu'avec nous elle a prises. Et pour l'en empecher, dans peu nous pretendons Lui faire aller revoir nos choux et nos dindons.24 
(vss. 259-260.) 
The fact that Sganarelle lives in the country, as revealed by his reference to "our cabbages and turkeys," is rather surprising, since the rest of the 
24There is a phrase in les Esprits of which this verse may be an echo. Hilaire says that Severin deliberately keeps Urbain in the country because of the corruption of the city. Desire, describing the life Laurence leads in the country, says : "Ainsi elle usera inutilement sa jeunesse en lieu charnpetre entre Les boeufs et les moutons." Pierre de Larivey, "Les Esprits," Ancien Theatre Frani;ois, V, 221. But since Demea also lives in the country and fears the corrupting influence of the city on his son, one would hardly be justified in seeing here any influence of Larivey, especially since this is the only hint of verbal similarity in the two plays. 
play seems to indicate that he lives in the city. Terence gives the informa· tion about Demea's life in the country in Micio's monologue in the opening scene of the play. Moliere begins his play with a dialogue between Sgana· relle and Ariste. While he incorporates in this dialogue some of Micio's views, as expressed in the monologue, he has presumably forgotten to inform us that Sganarelle lives in the country. He inconsistently utilizes here the reference to Demea's life in the country. 
When Micio protests against Demea's interference with his rearing of Aeschinus, Demea flies into a rage and tells Micio to let Aeschinus be ruined if he wishes; he will no longer meddle. He adds that he will look after Ctesipho, who is a son after his own heart. Similarly Sganarelle angrily tells Ariste to let Leonor be as frivolous as she pleases, it is no concern of his; but that he intends to follow his own system with regard to Isabelle : 
Dem ea Sgnarelle si tibi istuc placet, J'y consens; qu 'elle coure, Profundat perdat pereat, nil aime l'oisivete ad me attinet. 
Et soit des damoiseaux fleuree (vss. 133-134.) 
en liberte: J'en suis fort satisfait. Vnum uis curem: curo; et est 
Mais j'entends que la dis gratia, 
mienne Quom ita ut uolo est. 
Vive a ma fantaisie, et non (vss. 138-139.) 
pas a la sienne. ( vss. 113-116.) 
Like Demea, Sganarelle thinks his brother's household quite mad: 
Demea 
Sganarelle 
0 luppiter, 

(uelle belle famille! Un Hancine uitam! hoscin mores! 
vieillard insense 
hanc dementiam ! 

Qui fait le dameret dans un Vxor sine dote ueniet; intus 
corps tout casse; psaltriast; Une fille maitresse et co­Dom us sumptuosa; adulescens 
quette supreme; 
luxu perditus; 

Des valets impudents; non, Senex delirans. ipsa si 
la Sagesse meme 
cupiat Salus, 

Ne viendroit pas a bout, per­Seruare prorsus non potest 
droit sens et raison hanc familiam. 
A vouloir corriger une telle ( vss. 757-762.) 
maison. (vss. 253-258.) 
These protests of one brother against the meddling of the other, the fear on the part of Sganarelle, like Demea, that his brother's ward will exert a bad influence on his own ward, and the despair of Demea and Sganarelle over the corruption of their brothers' households, have little direct bearing on the thesis of the play and little significance as regards the characters. But this insignificance only serves to make the parallelism more striking and to point to the conclusion that Moliere was using the text of the Adelphoe as the basis of his play. This conclusion is strengthened by another imitation of detail. The situation and the words are different, but the structure of the verse, the pattern, so to speak, of the two passages is so obviously the same that even Despois, who is inclined to minimize the Terentian influence, calls attention to the similarity. Demea, erroneous­ly supposing the cithern-girl to be Aeschinus's mistress, and having heard of Aeschinus's betrayal of Pamphila, sees in Aeschinus's immorality and disloyalty the result of Micio's indulgence and asks Micio how he intends to handle the situation. Micio, himself under the same misapprehension as Demea and at heart very much discouraged at the apparent failure of his policy towards Aeschinus, will not, however, admit defeat and baits Demea by pretending a sang-froid which he does not feel. Sganarelle inquires of Ariste if he intends to pursue the same policy of lenience with Leonor after they are married. Ariste replies in good faith that he does: 
Dem ea Sganarelle Quid igitur facies? Quoi? si vous I'epousez, elle Micio pourra pretendre Domi erit. Les memes libertes que fille Dem ea on lui voit prendre? Pro diuom fidem, Ariste Meretrix et mater familias una Pourquoi non? in domo? Sganarelle Micio Vos desirs lui seront Quor non? complaisans Dem ea Jusques a lui laisser et Sanum te credis esse? mouches et rubans? Micio Ariste Equidem arbitror. Sans doute. Demea Sganarelle Ita me di ament, ut uideo ego A lui souffrir, en cervelle tuam ineptiam, troublee; Facturum credo, ut habeas De courir tous Jes bals et les quicum cantites. lieux d'assemblee? Micio Ariste Quor non? Oui, vraiment. 
Sganarelle 
Et noua nupta eadem haec 

Dem ea Et chez vous iront les 
damoiseaux? Micio 
discet. 
Ariste Scilicet. Et quoi done? Dem ea Sganarelle Tu inter eas restim ductans Qui joueront et don· saltabis. neront cadeaux? Micio Ariste Probe. D'accord. 
(vss. 746-752.) Sganarelle Et votre femme enten· dra les fieurettes? 
Ariste Fort bien. Sganarelle Et vous verrez ces visites muguettes D'un oeil a temoigner de n'en etre point sou? Ariste Cela s'entend. 
Sganarelle Allez, vous etes un vieux fou. ( vss. 219-230.) 
All these verbal remm1scences occur in Act I of l' Ecole des maris. Act II is based on la Femme industrieuse; but there is one point of resemblance between this act and the Adelphoe. Demea rejoices that his rearing of Ctesipho has resulted in Ctesipho's supposed disapproval of his brother's escapades (really his own). Syrus reports to Demea that Ctesipho has severely reproved Aeschinus for his conduct. Demea rejoices that his training is bringing such excellent results; Syrus hypocritcally flatters Demea by insinuating that Demea's teaching is responsible for Ctesipho's virtue: 
Dem ea Syre, praeceptorum plenust istorum ille. Syrus Domi habuit unde disceret. ( vss. 412-413.) 
Similarly Sganarelle sees in Isabelle's feigned indignation at Valere's advances the fruit of his precepts: 
Moliere and Terence, A Study in Moliere's Realism 65 
Sganarelle Je vois que mes le<;ons ont germe dans ton ame. (vs. 495.) 
The Latin passage is again imitated, and in more detail, in Act III of l'Ecole des maris. Syrus reports to Demea that Ctesipho has reprimanded his brother for carrying off the cithern-girl: 
Syrus 
Ah, nil reticuit. Nam ut numerabatur forte argentum, interuenit Homo de inprouiso: coepit clamare 'o Aeschine, Haecine flagitia facere te! haec te admittere lndigna genere nostro ! ' 
(vss. 405-409.) 
So Isabelle pretends to have scolded Leonor for deceiving Ariste and making a rendez-vous with V alere: 
Isabelle Quoi ! ma soeur, ai·je dit, etes·vous insensee? Ne rougissez·vous point d'avoir pris tant d'amour Pour ces sortes de gens qui changent chaque jour? D'oublier votre sexe, et tromper l'esperance D'un homme dont le ciel vous donnoit l'alliance? 
( vss. 844-848.) 
There is one further point of resemblance in Act III. Demea, discover­ing that the cithern-girl is really Ctesipho's mistress and convinced that his system is not expedient because of the baseness of human nature, not because of the fallacy of his theories, pretends to be converted to Micio's theories and practices amiability at Micio's expense. Urging his brother to make a gift of a farm to Pamphila's relatives, he quotes ironically Micio's own words concerning the avarice of old men. (vss. 953-954.) Similarly Sganarelle, having informed Ariste of Leonor's supposed rendez­vous with Valere, tauntingly quotes Ariste's own words: 
Sganarelle Vous l'avez bien stylee; 
"II n'est pas hon de vivre en severe censeur; On gagne Jes esprits par beau coup de douceur; Et Jes soins defiants, les verrous et les grilles 
Ne font pas Ia vertu des femmes ni des filles." ( vss. 949-952.) 
The words, of course, do not correspond. 
Imitations of detail from the Spanish play are neither so numerous nor so significant as those from the Adelphoe. In El marido hace mujer, when Diego amiably approaches Sancho, Sancho is abrupt and rude to him. Sganarelle treats Valere in the same way: 
Don Diego Valere Y bien lograda Monsieur, un tel abord vous Es al menos la jornada interrompt peut·etre? Gue he llegado a conoceros Sganarelle Porque vuestra cortesia • . Cela se peut. 
Don Sancho Valere No es ninguna; i,cumplimientos Mais quoi? l'honneur de vous A estas horas?25 
connoitre 
(p. 	424.) Est un si grand bonheur, est un si doux plaisir, Que de vous saluer j'avois un grand desir. 
Sganarelle So it. (vss. 284-287.) 
Sancho forbids Juana to go to the Prado. Juan urges Leonor to go. In the same way Sganarelle and Ariste speak to Leonor and Isabelle: 
Don Sancho 
Sganarelle gusto
Dona Juana, yo no Mais vous, je vous defends, Que salgais vos. 
s'ii vous plait, de Don Juan 
sortir. Mi Leonor, si; Ariste 
Yo quiero que vayais donde 
Eh! laissez-Jes, mon frere, Gustareis, y que Ileveis 
aller se divertir. 
EI coche. 
(vss. 89-90.) 
Ve, Leonor. Don Sancho No salgais vos.2a 
(p. 428.) 
Don Diego remarks that whoever could love Sancho's wife would have no difficulty in winning her, since her husband would only aid a lover's cause. Valere's valet makes the same remark about Sganarelle: 
25lmitation noted by Martinenche. 
261mitation noted by Martinenche. 

Moliere and Terence, A Study in Moliere' s Realism 67 
Don Diego 	Ergaste 
i Oh, qmen pudiera Apprenez, pour avoir votre Querer la hermana ! Que fuera esprit raffermi, Grande ayuda su marido. Qu'une femme qu'on garde est 
(p. 	424.) gagnee a demi, Et que les noirs chagrins des maris ou des peres Ont toujours du galand avance 
Jes afaires. ( vss. 317-320.) 
Dona Juana resolves to do what never would have occurred to her if her husband had not been such a tyrant; she goes to meet Diego in her sister's place. Similarly Isabelle excuses herself for her advances to Valere: 
Doiia Juana 	Isabelle 
He de hacer Je fais, pour une fille, un Lo que jamas no lleg6 projet bi en hardi; A mi bonrado pensa·miento. Mais l'injuste rigueur dont 
envers moi l'on use 
Honor, no esteis vos quejoso; Dans tout esprit bien fait me Que en resoluci6n tan nueva, servira d'excuse. Yo no voy, porque me lleva ( vss. 36&-368.) La necedad de mi esposo. 
(p. 429.) 
Sancho thinks Juan's supposed betrayal at the hands of his wife just punishment for Juan's stupidity. Sganarelle thinks also that Ariste deserves Leonor's supposed treachery: 
Don Sancho Sganarelle El es tan necio y sufrido, II le merite bien et j'en suis Que merece, y no es injusto, fort ravi. Cuanto le sucede aqui. (vs. 849.) 
(p. 431.) 
There is one passage only which might be an imitation of either the Adelphoe or El marido hace mujer. Demea rushes to Micio to announce fresh iniquities on the part of Aeschinus, the betrayal of Pamphila. Sancho announces triumphantly to Juan the news of Leonor's supposed rendez-vous with Diego. Sganarelle triumphantly brings word to Ariste of Isabelle's supposed rendez-vous with Valere. The situation in I'Ecole des maris is closer to that in El marido hace mujer, since both Sancho and 
68 The University of Texas Bulletin 
Sganarelle are delighted at the apparent failure of the system of indul­gence and both are soon to discover that they have been duped and that it is their own system of severity that has failed. Demea, while somewhat pleased that his bsother's theories have been proved false, is not alto· gether triumphant, since Aeschinus is his son. Moreover, Aeschinus is really guilty of the seduction of Pamphila. But the scene in l'Ecole des maris is sufficiently like the scene in the Adelphoe for the resemblance to he pointed out by Des pois: 
Dem ea  Ariste  Sancho  
Sed  eccum  ipsum.  te  Qui frappe la? Ah!  i,Don  Juan?  
iam  dudum  quaero,  ah!  que voulez­ Juan  
Micio.  vous,  mon  frere?  i,Que  es  esto,  
Micio  Sganarelle  Don  Sancho?  
Quid nam?  Venez, beau directeur,  Sancho  
Dem ea  suranne  damoiseau:  Yo  digo  presto  
Fero  alia  ftagitia  On veut  vous  faire  Todo lo que siento yo.  
ad  te  ingentia  voir quelque chose  Vuestro  dictamen  
Boni  illius  adules·  de beau.  holgado  
centis.  Ariste  Tan galante y espar­ 
Micio  Comment?  cido,  
Ecce autem!  Sganarelle  Tan  discreto  lo  marido,  
Dem ea  Je  vous  apporte  une  Lo galan  tan  demasiado,  
Noua,  bonne  nouvelle.  Ved, don Juan, d6nde  
Capitalia.  Ariste  para.  
(vss. 720-723.)  Quoi?  Juan  
Sganarelle  i, Que quereis darme  a  
Votre Leonor, oil je  entender?  
vous  prie,  est­ Sancho  

elle? Que aquella es vuestra (vss. 940-944.) mujer. 
(p. 430.) 
All the imitations of detail are shown in the following table: 
PARALLEL PASSAGES IN THE ADELPHOE, L'ECOLE DES MARIS, AND EL MAR/DO HAGE MUJER 
(An asterisk marks parallel passages noted by Des pois or by M. Martinenche.) 
AcT I 
ADELPHOE L'ECOLE EL MARIDO 
I. 
Micio Ariste Nimium ipse est durus Cette farouche humeur, praeter aequomque dont la severite 
et bonum. Fuit toutes !es dou­(vs. 64.) ceurs de la societe. 
(p. 358, vss. 13-14.) 
ADELPHOE 
2. Micio uerum, Demea, Curemus aequam uterque 
partem: tu alterum, Ego item alterum. (vss. 129-131.) 
Dem ea 
ei tibi istuc placet, 
Pro/undat perdat pereat, 

nil ad me attinet. (vse. 133-134.) 
4. 
Dem ea 
Id misero restat mihi mali, si ilium potest, 
Cui aliquoi reist etiam, eum ad ne­quitiem adducere. 
(vss. 357-358.) 
Demea (to Micio) Tu ilium corrumpi sinis. (vs. 97.) 
Demea (of Micio) Eccum adest Communis corruptela nostrum liberum.21 (vss. 792-793.) 
L'ECOLE 
Sganarelle D' el ever celle-la vous prites le souci, 
Et moi, je me chargeai du soin de celle-ci. Selon vos volontes vous gouvernez la votre; 
Laissez·moi, je vous prie, a mon gre re­gir I'autre. 
(p. 365, vss. 105-108.) 
Sganarelle 
J'y consens: qu' elle coure, aime l' oisi­vete 
Et soit des damoiseaux fleuree en liberte. 
J'en suis fort satis· fait. Mais j'entends que la mienne 
Vive a ma fantaisie, et 
non pas a la sienne. (pp. 365-366, vss. 113­116.) 
Sganarelle (to Leonor) 
Oui, vous me la gatez, puisqu'il faut parler net. 
Vos visites 1c1 ne font que me deplaire, Et vous m'ohligerez de ne nous en plus faire. (vss. 259-261, p. 357.) 
EL MARIDO 
Sancho Discretisimo senor, 
Seguid vos lo confiado Yo lo temido, y veremos Quien hace de amhos 
extremos El suyo mas desdichado. 
(p. 423.) 
27Corresponds to the following passage from les Esprits: 
Severin: Yous avez ete cause de ses desordres (i.e. those of Urbain.), p. 267. ADELPHOE 
5. Micio Hoc patriumst, potius consuefacere filium Sua s ponte recte facere quam alieno metu: Hoc pater ac dominus 
interest. (vss. 74-76.) 
6. 

7. 
Micio Pudore et liberalitate liberos Retinere satius esse 
credo quam metu. 
(vss. 57-58.) 


8. 
Micio Et errat longe mea qui­dem sententia, 

Qui imperium credat grauius esse aut stabilius, L'ECOLE 
Lisette 
Le plus sur est, ma foi, de se fier en nous. 
(p. 368, vs. 154.) 
Sommes-nous chez les Tures, pout renfer­mer Jes femmes? 
Car 	on dit qu'on les tient esclaves en ce lieu. 
(p. 368, vss. 144-145) 
Lisette 
C'est nous inspirer presque un desir de pecher, Que montrer tant de soins de nous en empecher. 
(p. 368, vss. 157-158.) 
Ariste Et Jes soins defiants, les verrous et les grilles 
Ne font pas la vertu des femmes ni des filles. C'est l'honneur qui les 
doit tenir dans le de­
voir, 
Non la severite que nous leur faisons voir. 
(p. 369, vss. 167-170.) 
Ariste 
Je trouve que le coeur est 
ce qu'il faut gagner. 

(p. 369, vs. 174.) 
EL MARIDO 
Juan La mujer que mas se muestra 
Flaca, cuando va a 
perderse, Firme suele mantenerse En la confianza nuestra; 
Mas si con desconfi­
anza La tratamos, vengativa, Todo lo arrastra y derriba Hasta la misma esperanza, 
(p. 423.) 
Juan *Vos no quereis en· tenderlo; 
Que es decir a una mujer Todo lo que no ha de hacer Decirla que puede hacerlo. 
(p. 423.) 
ADELPHOE 
Micio 

Vi quod fit, quam illud quod amicitia adiungi­tur.28 
(vss. 6~7.) 
9. 
Micio Malo coactus qui suom officium facit, 
Dum id rescitum iri credit, tantisper pauet; 
Si sperat fore clam, rursum ad ingenium redit.28 
(vss. 69-71.) 
10. Micio 
Do, praetermitto, non necesse haheo omnia 
Pro meo iure agere. (vss. 51-52.) 
ohsonat, potat, olet unguenta: de meo. (vs. 117.) 
11•. Micio et, dis gratia, Est unde haec fiant, et adhuc non molesta sunt. (vss. 121-122.) 
L'ECOLE 
Ariste Et je tiendrois, moi, quel­que soin qu'on se donne, 
Mon honneur guere siir aux mains d'une per­sonne 
A qui, dans les desirs qui pourroient l'assaillir, 
Il ne manqueroit rien qu'un moyen de faillir. 
(p. 369, vss. 175-178.) 
Ariste 
J'ai souffert qu'elle ait vu 
les belles compagnies, 
Les divertissements, les 

hals, !es comedies. 
(p. 370, vss. 187-188.) 
Ariste 
Et ce sont des plaisirs qu'on peut dans nos families, 
Lorsque !'on a du hien, permettre aux jeunes filles. 
(p. 370, vss. 195-196.) 
EL MARIDO 
28Passages 8 and 9 correspond to the following passage from les Esprits: Hilaire: Je m'esmerveille de vous et de tous ceux qui pensent les enfants se pouvoir retirer de leur naturelle inclination ou par force ou par menaces, car je vous advise que, si je voulois empescher Fonune de se recreer et prendre ses plaisirs, qu'il en feroit cent fois pis; mais ii faut que, luy permettant une legere chose ou ii a son coeur, je luy deffende toute autre de consequence, l'accoutumant a m'obeyr non par 
The University of Texas Bulletin 
ADELPHOE 
12. Micio Non est fiagitium, mihi 
crede, adulescentulum Scortari, neque potare. ( vss. 101-102). 
13. Micio 
Homine imperito num· quam quicquam in­iustiust, 
Qui nisi quod ipse feci t nil rectum putat. 
( vss. 98-99.) 
14. 
Micio et tu ilium tuom, si esses homo, 
Sineres nunc facere, dum per aetatem licet, 
Potius quam, ubi te 
ex pee tat um eiecisset Joras 
Alieniore aetate post 
faceret tamen. 
(vss. 107-110.) 

15*. 
Dem ea 

Ita me di ament, ut 
uideo ego tuam 
ineptiam, 

Facturum credo, ut 
habeas quicum 
cantites. 

Mir.in 
Quor non? 

Demea Et noua nupta eadem haec discet. 
L'ECOLE 
Ariste Des moindres libertes je n'ai point fa i t des 
crimes. 
(p. 369, vs. 184). 
Ariste 
Et l'ecole du monde, en l'air dont ii faut vivre, lnstruit mieux, a mon gre, que ne fait aucun livre. 
(p. 370, vss. 191-192.) 
Ariste Je ne suivrois jamais ces maximes severes, 
Qui font que Jes enfants comptent les jours des peres. 
(p. 371, vss. 211-212.) 
Sganarelle 
Quoi? si vous )'epousez, 
elle pourra pretendre 
Les memes libertes que 

fille on lui voit prendre? Ariste Pourquoi non? 
Sganarelle Vos desirs Jui seront complaisans 
Jusques a lui laisser et mouches et rubans? 
EL MARIDO 
force, mais par amour; car quiconques fait bien par crainte, le continue autant longue· ment qu'il pense qu'il sera s~eu et fait secrettement le ma) quand ii en peut avoir la commodite. (p. 205.) 
ADELPHOE Micio Scilicet. Demea Tu inter eas restim ductans saltabis. Micio Probe. Dem ea Probe? 
Micio Et tu nobiscum una, si opus sit. 
Demea 
Ei mihi! Non te haec pudent? (Yss. 749-754.) 
16*. 
Demea 0 luppiter, 
Hancine uitam! hoscin mores! hanc dementiam! 
L'ECOLE EL MARIDO Ariste Sans doute. 
Sganarelle 
A Jui souffrir, en cer­
Yelle troublee, 

De courir tous !es hals et !es lieux d'assemhlee? Ariste 
Oui, vraiment. 
Sganarelle 
Et chez Yous iront les 
damoiseaux? 

Ariste Et quoi done? 
Sganarelle 
I ui joueront et donne­
ront cadeaux? 

Ariste D'accord. Sganarelle El Yotre femme entendra !es fleurettes? 
Ariste Fort bien. 
Sganarelle 
Et YOUS Yerrez ces 
Yisites muguettes 

D'un oeil a temoigner de n'en fare point soil.? 
Ariste Cela s'entend. Sganarelle Allez, YOUS etes un Yieux fou. (pp. 371-373, YSS. 219­230.) 
Sganarelle Quelle belle famille ! un vieillard insense, Qui fait le dameret dans un corps tout casse; 
The University of Texas Bulletin 
ADELPHOE Dem ea Vxor sine dote ueniet; intus psaltriast; 
Dom us sumptuosa; adu­lescens luxu per­ditus; 
Senex delirans. ipsa si cupiat Salus, Seruare prorsus non 
potest hanc 
familiam. 
(vss. 757-762.) 
17. Micio 
Ruri agere uitam; sem­per parce ac duriter 
Se habere. (vs. 45.) 
18.* 
L'ECOLE 
Sganarelle 

Une fille maltresse et 
coquette supreme; 
Des valets impudents; 

non, la Sagesse meme 
N'en viendroit pas a bout, perdroit sens et raison 
A vouloir corriger une telle maison. 
(p. 375, vss. 253-258.) 
Sganarelle Isabelle pourroit perdre dans ces hantises 
Les semences d'honneur qu'avec nous elle a prises; 
Et pour l'en empecher, dans peu nous preten­dons 
Lui faire aller revoir nos choux et nos dindons. 
(p. 375, vss. 259-262.) 
Valere 
Monsieur, un tel abord vous interrompt peut-etre? 
Sganarelle Cela se peut. 
Valere 
Mais quoi? l'hon­
neur de vous con­
noltre 

Est un si grand honheur, est un si doux plaisir, Que de vous saluer j'avois un grand desir. Sganarelle Soit. 
(p. 379, vss. 283-287.) 
EL MARIDO 
Diego *Y bien lograda Es al menos la 
jornada Que he llegado a conoceros, Porque vuestra cor­tesfa ... Sancho 
No es ninguna; ;,cumplimientos a estas horas? 
(p. 424.) 
Moliere and Terence, A Study in Moliere's Realism 75 
ADELPHOE 
19. 
20.• 
22. 
Demea Ain uero? 
L'ECOLE 
Ergaste 
Apprenez, pour avoir votre esprit raffermi 
Qu'une femme qu'on garde est gagnee a demi 
Et que les noirs chagrins des maris ou des peres Ont toujours du galand avance les affaires. 
(p. 381, vss. 317-320.) 
Sganarelle 
Mais vous, je vous defends, s'il vous plait, de sortir. Ariste Eh! Laissez-les, mon frere, aller se di vertir. 
(p. 364, vss. 89-90.) 
ACTS II, III 
Isabelle 
Je fais, pour une fille, un projet bien hardi; 
Mais l'injuste rigueur dont envers moi l'on use 
Dans tout esprit bien fait me servira d'excuse. 
p. 384, vss. 366-368.) 
Sganarelle Et tu trouves cela . 
EL MARIDO 
Diego l Oh, quien pudiera Querer la hermana ! 
Que fuera grande ayuda su marido. 
(p. 424.) 
Don Sancho *Doiia Juana, yo no gusto Que salgais vos. Don Juan Ve, Leonor. Don Sancho No salgais vos. 
(p. 428.) 
Juana He de hacer Lo que jamas no llego A mi honrado pensa­
miento, 
Honor, no esteis vos quejoso; Que en resoluci6n tan nueva, Yo no voy, porque me lleva La necedad de mi esposo. 
(p. 429.) 
ADELPHOE  L'ECOLE  EL MARIDO  
Syrus  Isabelle  
Ah, nil reticuit.  Moi, j'en suis  
Nam ut numerabatur  courroucee.  
forte argentum, inter­ "Quoi! ma soeur" ai-je  
uenit  dit, "etes vous insen­ 
Homo de inprouiso:  see?  
coepit clamare 'o  Ne rougissez-vous point"  
Aeschine,  etc.•..  
Haecine flagitia facere  (p. 416, vss. 843-848.)  
te! haec te ad­ 
mittere  Sganarelle  
lndigna genere nostro ! '  Va, ta vertu me charme,  
Demea  et ta prudence aussi.  
Oh, Iacrumo gau­ Je vois, que mes le<;ons  
dio !  ont germe dans ton ame.  
(p. 393, vss. 494-495.)  
Syre, praeceptorum  
plenust istorum ille.  
(vss. 405-412.)  
23.29  
Syrus  Sganarelle  Sancho  
Vt quisque suom  Ma foi ! Ies filles  Cualquiera,  no como  
uolt esse, itast.so  sont ce que l'on Ies  nace,  
(vs. 399.)  fait etre.  Como vive, tiene el  
(p. 394, vs. 511.)  nombre  
La sangre  es tiempo  
perdido  
El marido  hace mujer.81  
(p. 431.)  

29Passage 23 corresponds to the following passage from les Esprits: Hilaire: Ce que dis est vray. Et vous asseure que Ia plus part des meurs et coustumes de la jeunesse, soient bonnes ou mauvaises, procedde de leurs peres et meres ou de ceux qui en ont charge. p. 203.) 
But is is significant that Terence has Syrus express a similar sentiment ironically, knowing how signally Demea has failed to make Ctesipho what he wishes him to be. The remark in Moliere has the same ironical significance, since Sganarelle makes it. Since Sancho says, "El marido hace mujer," apparently his remark also shows the same ironical intent on the part of Mendoza; but the moral of the Spanish play is, after all, "el trato muda costumbre," and the system of indulgence is credited with the same power to mould character as in Larivey's play. Neither Micio nor Ariste expresses any such complete confidence in the efficacy of his system. 
aoNoted by Moland. 
s1Noted by Martinenche. 
ADELPHOE 24.• Dem ea 
Sed eccum ipsum. te iam dudum quaero, Micio. 
Micio Quid nam? Demea Fero alia flagitia Boni illius adules· cent is. Micio Ecce autem! Dem ea 
Noua, Capitalia. (vss. 720-723.) 
25. 
Micio si te mi ipsum puduit proloqui, 
Qua resciscerem? 
(vss. 690-691.) 

26. 
It is apparent from freely on his models 
L'ECOLE 
Ariste 
Qui frappe? Ah! 
ah! que voulez· 
vous, mon frere? 

<::itanarelle Venez, beau directeur, suranne damoiseau: 
On veut vous faire 
voir quelque chose 
de beau. 

Ariste Comment? Sganarelle Je vous apporte une bonne nouvelle. Ariste Quoi? Sganarelle Votre Leonor, ou je vous prie, est·elle? 
(p. 423, vss. 940--946.) 
Ariste Cependant votre coeur, meprisant mon suffrage, De foi, comme d'amour, a mon insu s'engage. 
(p. 432, vss. 1059-1060.) 
Sganarelle 
11 le merite bien et j'en suis fort ravi. 
(p. 416, vs. 849.) 
these parallel passages for the construction of 
EL MARIDO 
Sancho 
4Don Juan? 
Juan 
4 Que es esto, 
Don Sancho? 

Sancho Yo digo presto Todo lo que siento yo. 
Vuestro dictamen 
holgado, Tan discreto lo marido, Lo galiin tan demasiado, 
Ved, don Juan, d6nde para. Juan 4 Que quereis darme a entender? Sancho (ue aquella es vuestra mujer. 
(p. 430.) 
Sancho El es tan necio y sufrido Que merece, y no es injusto, Cuanto le sucede aqui. 
(p. 431.) 
that Moliere drew more Act I than for Act III. 
Terence's contribution to Act I bulks much larger than that of Mendoza. In Acts II and III Mendoza's contribution of details is no more consider­able than Terence's. Moreover, all the passages taken from the Adelphoe 
78 The University of Texas Bulletin 
or suggested by the Latin play are of such a nature as to indicate a deliberate imitation of the Adelphoe rather than a fortuitous use of details recollected. Since the situation in l' Ecole des maris is different from that in the Adelphoe, we cannot expect to find translation. But in many of the parallel passages where Moliere had to change the words to fit the altered situation, a word here and there, a rhetorical device, the division of the verse, or the syntax, points unmistakably to the Adelphoe as the model for the scene. In (2) for instance, there is the balance a.lterum . . • . alterum and cella-la celle-ci. In (3) , Moliere repeats the series of subjunc­tives: pro fundat, perdat, per eat, in qu' elle coure, aime l' oisivete, et soit des damoiseaux fieuree en liberte. In (5), Micio makes the point that a father should not use the methods of an owner of slaves in rearing his children; Lisette protests against women's being treated as slaves. In (7), honneur echoes pudore et liberalitate; severite, metu; tenir dans de devoir is a translation of retinere. In (8) , coeur echoes amicita. In ( 10), the enumeration of Leonor's diversions parallels Micio's enumerations of Aeschinus's diversions. Of coul'se the diversions of the young French lady of the seventeenth century were necessarily different from those of the Greek (or Roman) youth; but the similar enumeration betrays the kinship with the passage in the Adelphoe: In (11) we have a free translation of a passage from the Latin play. In (12), again, Moliere has to change Aeschinus's escapades (which Micio himself does not regard as quite as innocent as he maintains to Demea) into more harmless offenses on the part of Leonor; but he is following Micio's argument and the word crimes harks back to fiagitium. I have already pointed out the significance of ( 14). Here Moliere has merely translated freely, since the idea of "les enfants qui comptent les jours des peres" is in expectatum. Such imitation of the pattern of a scene as we find in 
(15) 
is more convincing evidence of deliberate use of the Latin play as a model than an echo here and there of the exact words would be. 

(16) 
is obviously as literal a translation of the Latin as Moliere could make to fit into the scheme of his play. Aside from the exactly analagous situations in (22)-Syrus is lying to Demea, telling him that Ctesipho has reproved his brother for a crime which Ctesipho himself has com­mitted but of which Demea thinks Aeschinus guilty, while Isabelle is reporting to Sganarelle her supposed reproof to her sister, Leonor, for an escapade of which she is accusing Leonor but of which she herself is really guilty-the speeches have the same movement. Syrus quotes Ctesipho; Isabelle quotes her own words, and both these quotations begin 


with a similar interjection. In (23), Syrus's ironical remark is closer to Sganarelle's than is the con:esponding passage in El marido. In (24), it would be difficult to say whether Moliere is following Terence or Men­doza. Despois points out this passage as an imitation of Terence, while Martinenche fails to note the corresponding passage in El marido. 
No such verbal similarity can be traced in the passages suggested by the Spanish play. The imitations of details point inevitably to the con­clusion that Moliere had the Latin text before him when he constructed his play while he may merely have seen or read and remembered the Spanish play. He uses in l'Ecole des maris ideas or incidents from El marido hace mujer; he never uses the words and he never follows the verbal pattern, so to speak, of the Spanish play. 
Although in Act III Moliere does not follow either model as closely as he follows the Adelphoe in Act I, the denouement of l'Ecole des maris resembles that of El marido hace mujer superficially at least, rather than that of the Adelphoe. The denouements of all three plays are similar, since the complication is built upon a misapprehension, and the unravelling comes with the clearing up of this error. The cithern-girl is thought to be Aeschinus's mistress; Demea thinks his policy has been a success and Micio's a failure; with the discovery that the girl is Ctesipho's mistress, he realizes that his system has failed. Sancho thinks Leonor is meeting Diego and sees in Leonor's supposed unfaithfulness the result of Juan's indulgence. With the discovery that Juana, not Leonor, has been meeting Diego, comes the triumph of indulgence and trust and the downfall of tyranny and suspicion. Sganarelle thinks that Isabelle has repulsed Valere's advances and that Leonor is pursuing Valere. He enjoys a momentary triumph at Ariste's expense only to discover that, in his eagerness to punish Ariste for his stupid theories, he has married Isabelle, not Leonor, to Valere. But the fact that Moliere's play deals with two women instead of two young men, makes it necessary for him to follow in detail the solution of the Spanish play. Juana, bent upon punishing Sancho for his tyranny, disobeys his orders and goes, veiled, to the Prado. There she meets and talks to Don Diego. Sancho sees them and thinks it is Leonor whom he sees talking to Diego. He triumphantly reports his discovery to Juan, who refuses to verify his suspicions. Later Juana sends for Diego. Diego, who thinks Leonor has sent for him in her sister's name, addresses Juana as Leonor. Juan hears him call her Leonor and thinks Sancho's suspicions justified; but, when Juana discloses her identity, Juan learns that his policy of lenience toward Leonor has 
80 The University of Texas Bulletin 
succeeded while Sancho's tyranny has brought the results which he, Juan, had foreseen. Similarly, Sganarelle, believing Isabelle's story of Leonor's rendez-vous with Valere, triumphantly reports Leonor's supposed treachery to Ariste. Ariste refuses to believe him but goes with him to Valere's house. There they hear Valere refer to his companion as "Isabelle," and both believe that Valere himself is deceived by Leonor's trick. Sgana­relle, still under the delusion that Isabelle is Leonor, insists that Valere marry her. Ariste consents. After the marriage, they discover that Isabelle, not Leonor, is married to Valere. 
Despite the similarity of this denouement to that of El marido hace mujer, Act III is not free from influence of the Adelphoe. The following table will serve to show how Moliere constructed Acts I and III of his play with ideas and incidents drawn from both the Adelphoe and El marido hace mujer: 
PARALLEL IDEAS AND INCIDENTS IN THE ADELPHOE, 
L'ECOLE DES MARIS, AND EL MARIDO HACE MUJER 

ACT I 
ADELPHOE L'ECOLE EL MARIDO 
Micio begs Demea to let Sganarelle tells Ariste not him handle Aeschinus as to meddle with his busi­he sees fit. ness. He intends to please (vss. 129 ff.) only himself. 
(sc. I.) 
Micio attributes Demea's Ariste criticises Sgana­Sancho refers scornfully 
harshness and stubborn­relle's anti-social attitude. to Juan's age. 
ness to his ignorance of He refers scornfully to (p. 423.) 
the world. Ariste's age. 
(vss. 98-99.) (sc. I.) 
Leonor and Isabelle pre­Leonor prepares to go to 
pare to go out. Sganarelle the Prado. 
forbids Isabelle to go. Juana decides to accom· 
Ariste urges him to let pany her. Sancho forbids 
her accompany Leonor. Juana to go. Juan urges 
Sganarelle tells Ariste not Leonor to go. 
to interfere with h i s (p. 428.) 
discipline. 
(sc. II.) 
ADELPHOE 
Demea angrily tells Micio to let Aeschinus be ruined if he pleases. 
( V88. 133 ff.) 
Demea fears that Ctesi­
pho may be corrupted by 
association with Aeschi­
nus. 
(vss. 355 ff.) 

Micio m a i n t a i n s that 
friendliness is better disci­
pline than fear. 
(vss. 65 ff.) 

Micio claims that Demea's 
system causes a young 
man to obey only while 
he fears detection. Once 
the fear is removed he re­
turns to his natural bent. 

(vss. 7011.) 
Micio says he overlooks Aeschinus's peccadilloes. He indulges his whims. (vss. 51-52.) 
L'ECOLE 
Sganarelle angrily tells Ariste to let Leonor be as frivolous as she pleases hut he intends to see that Isabelle obeys his com­
mands. 
He does not intend to wear horns if he can help it. 
(sc. II.) 
Sganarelle admits that he fears that Isabelle will he corrupted by association with Leonor. (sc. II.) 
Leonor says that lack of confidence may lead to anything with her. (sc. II.) 
Ariste maintains that only 
through affection, n o t 
through constraint, can a 
young person he con­
trolled. 
(sc. II.) 
Ariste maintains that hon­
or is poorly safeguarded 
in a woman who is virtu 
ous only because she is 
given no chance to he 
otherwise. 
(sc. II.) 
Ariste says he does not 
consider insignificant lib­
erties crimes. 
He i n d u 1g e s Leonor's 
whims. 
(sc. II.) 
EL MARIDO 
Sancho tells Juan to pur­sue his course of indul­gence; he will see which is right in the end. San­cho is willing to he ac­cused of anything, rather than he deceived by his wife. 
(p. 423.) 
Juan says that women become vindictive when they are not trusted. 
(p. 423.) 
ADELPHOE 
Micio s a y s he allows Aeschinus to have dinner parties, drinking parties. There is no harm while he has the means. 
(vss. 117ff.) 
Micio says he indulges 
Aeschinus while he is young so that he will not be longing to get him out of the way so as to run riot at a less fitting time of life. 
( vss. 107 ff.) 
Demea laments the Ji. 
cense and corruption of 
Micio's household. 
(vss. 758 ff.) 

Demea has lived the fru­
gal, narrow life of the 
countryman. 
( vss. 44 ff.) 

L'ECOLE 
Ariste says that young 
people should be given 
those pleasures which 
their families can afford. 
(sc. II.) 

Ariste says he will not 
follow those severe max­
ims that make children 
long for the death of 
their fathers. 
(sc. II.) 

Ariste says he intends to 
let Leonor lead the same 
life after she is married. 
(sc. II.) 

Ariste announces his in­
tention of trusting his 
honor to the loyalty of 
his wife. 
(sc. II.) 

Sganarelle says he will be 
delighted when Leonor 
betrays Ariste. 
(sc. II.) 

Sganarelle bemoans the 
corruption and license of 
Ariste's household. 
(sc. II.) 

Sganarelle lauds the life 
of the country. 
(sc. III.) 

Valere approaches Sgana­
relle and is abruptly dis­
missed. 
(sc. III.) 

EL MARIDO 
Diego approaches Sancho and is abruptly dismissed. 
(p. 424.) 
ADELPHOE L'ECOLE EL MARIDO 
Ergaste says that the Diego says that Sancho's severity of husbands and severity w o u Id greatly fathers is a great help to help the cause of any· lovers. one who happened to be (sc. IV.) in love with Juana. 
(p. 424.) 
ACT·I 
From the outline of parallel ideas and incidents in the three plays it is clear that Moliere constructed his first act with material drawn from Terence and from Mendoza. The first act of the Adelphoe is a long mono· logue spoken by Micio in which the exposition of the play is given and of a scene between Micio and Demea in which they argue about their contrast· ing policy towards their sons. Moliere uses nearly all this first act of the Adelphoe. Micio attributes Demea's ha.rshness to his ignorance of the world. Moliere expands this idea into Scene I of his play in which Ariste remonstrates with Sganarelle because of his stubborn refusal to follow the trend of the times. Scene II opens with the scene in which Lisette tells Leonor that she is fortunate to have the reasonable brother as her guardian. Follows the scene in which Sganarelle forbids Isabelle to go out with Leonor, and Ariste urges Sganarelle to let her go, a scene exactly parallel to one in El marido. Then comes the long discussion between Ariste and Sganarelle which gives the· thesis of the play. There is a somewhat similar scene in El marido between Juan and Sancho in which Juan upbraids Sancho for his ridiculous obsession, his fear of being deceived by his wife, which leads him to treat her as a slave. The scene in Moliere's play has only one point in common, however, with the Spanish play, that is, that it is Juan who tries to reform his headstrong brother just as Ariste tries to show Sganarelle his folly, while in the Adelphoe Micio is on the defensive. The arguments used by Ariste, however, can be traced in every case to those used by Micio in defending himself in Act I of the Latin play. Indeed Moliere is following the Adelphoe so closely that, in some instances, he seems to have forgotten to adapt his material to the changed situation in hi':l play. There follows Sganarelle's lament over the laxity of his brother's household, taken almost verbatim from the Adelphoe and noted by Despois. Sganarelle expands on the corruption of morals and resolves to return to the country. This idea of having him live in the country is probably suggested by the Adelphoe. Micio tells us that Demea lives a 
84 The University of Texas Bulletin 
frugal life in the country. Sganarelle meets Valere, who tries to approach him politely and to flatter him and is curtly dismissed. This incident is taken from the Spanish play, although there is no imitation of details. Moliere makes the scene more comic by having Sganarelle first pay no attention to Valere but go on muttering imprecations on the corruption of city life. The device of having one character talk on without noticing the other who is addressing him is common in Latin comedy. The brusque treatment of Diego at the hands of Sancho suggested the latter part of the scene but Moliere has expanded it greatly, having Sganarelle reply to Valere's flowery speeches with a quarter-verse in each case. Scene IV, between Valere and Ergaste, is added. There is one echo of the Spanish play here. Ergaste says that husbands or fathers of Sganarelle's type help the cause of lovers, a reminiscence of one of Diego's speeches in El marido. It is evident then that Moliere used both plays, not one or the other exclusively. The exposition, the philosophy of education of l'Ecole he could not have got from El marido. He took it from the Adelphoe. But he utilized other material from El marido. There is no 
possibility of conflicting sources or of his having got the material of Act I indirectly through the Spanish play. 
ACT III  
ADELPHOE L'ECOLE  EL MARIDO  
Isabelle starts out to m~et  Juana  goes  veiled  to  the  
Valere  and  unexpectedly  Prado,  where  she  meets  
meets  Sganarelle.  Diego,  who  is  in  love  
She  tells  Sganarelle  that  with  her  sister.  
Leonor has begged her to  (p. 429.)  
allow her to use her (Isa­ 
belle's)  room  and  mas­ 
querade  as  Isabelle  in  
order  to  talk  to  Valere,  
whom she loves.  
(sc. II.)  

Cyrus tells Demea that Isabelle tells Sganarelle 
Ctesipho has upbraided that she has reproved her 
Aeschinus for the abduc­sister for making a rendez­
tion of the cithern-girl vous with Valere, (a ren­

(an escapade for which dez-vous which she, Isa­
Ctesipho is really respon­belle, has made in reali­
sible.) ty.) 
( vss. 405 ff.) (sc. II.) 

ADELPHOE 
Demea rushes to Micio to 
tell him of the betrayal 
of Pamphila. 
(vss. 720ff.) 

Demea re101ces that his 
precepts have brought re­
sults, (when Syrus re­
ports Ctesipho's supposed 
reproof of Aeschinus). 
(vss. 410 ff.) 

Demea quotes Micio's 
maxims ironically. 
(vss. 953 ff.) 

L'ECOLE 
Sganarelle thinks Ariste 
deserves his supposed be­
trayal. 
(sc. II.) 

Sganarelle sees Isabelle 
meet Valere and thinks it 
is Leonor. 
(sc. III.) 

Sganarelle hears Isabelle 
tell Valere who she is 
and thinks she is deceiv­
ing him, Valere. 
(sc. III.) 

Sganarelle meets a notary 
and asks him to go to 
Valere's house to marry 

Valere  and  Leonor  (as  
Sganarelle thinks) .  
(sc. IV.)  
Sganarelle  rushes  tri­ 

umphantly to Ariste to 
tell him of Leonor's sup­
posed rendez-vous with 
Valere. 
(sc. V.) 

Sganarelle rejoices that 
his system has worked. 
(sc. V.) 

Sganarelle points out to 
Ariste the fruits of his 
"maximes folles." 
(sc. V.) 

Sganarelle quotes Ariste's 
maxims ironically. 
(sc. V.) 

EL MARIDO 
Sancho thinks Juan de­serves his supposed be­trayal. 
(p. 431.) 
Sancho sees Juana talk­ing to Diego and thinks it is Leonor. 
(p. 430.) 
Sancho rushes triumphant­ly to Juan to tell him of Leonor's supposed rendez­vous with Diego. 
(p. 430.) 
Sancho points to Leonor's apparent treachery as the fruit of Juan's stupid in­dulgence. 
(p. 430.) 
ADELPHOE 
Micio reproaches Aeschi­nus for not taking him into his confidence about Pamphila. 
( vss. 690 ff.) 
Demea, having discovered that Ctesipho is as guilty as Aeschinus, is disgusted with both youths for lov­ing Micio because of his indulgence, and not ap­preciating his own efforts for their welfare. He be­gins practicing generosity at Micio's expense. 
(Act VI.) 
L'ECOLE 
Ariste refuses to believe that Leonor has gone to Valere's house but agrees to accompany Sganarelle to Valere's house and to make Valere marry Leonor if they find her there. 
(sc. V.) 
Sganarelle a n d Ariste, outside Valere's h o u s e, hear V alere addressing his companion as Isabelle. Micio does not under­stand but Sganarelle thinks Valere is still de­ceived by Leonor's trick. 
(sc. VII.) 
The marriage papers are 
signed. 
(sc. VII.) 

Leonor enters, coming 
home from a ball. Ariste 
reproaches her for not 
taking him into her confi­
dence. 
(sc. VIII.) 

Isabelle enters and ex­plains her ruse. 
(sc. IX.) 

Sganarelle blames t h e 
perversity of women for 
the failure of his system. 
(sc. IX.) 

EL MARIDO 
Juan refuses to believe or to admit that he believes Sancho's accusation. 
(p. 430.) 
Juana sends for Don Diego, who thinks she is Leonor. Hearing Diego address his companion as Leonor, Juan thinks San­cho's accusations have been justified. 
(p. 434.) 
Juana tells Diego that she is Juana, not Leonor. Juan overhears her and thus learns that Leonor is innocent. 
(p. 435.) 
Sancho recognizes h i s mistake but says he can­not act otherwise. 
(p. 436.) 
Act III, like Act I, is constructed with material drawn from both the Spanish and the Latin models. Isabelle's impromptu lie to Sganarelle does not come either from the Spanish or from the Adelphoe. It was probably suggested, however, by the Spanish play, since Leonor's conduct, as described by Isabelle, corresponds to the actual conduct of Juana. Isabelle's account of her reproof of Leonor is an imitation of Syrus's account of Ctesipho's supposed remonstrances to Aeschinus. Sganarelle's delight at Ariste's undoing corresponds to Sancho's pleasure at the apparent failure of his brother's policy. But Sganarelle's pride in the results of his own maxims comes from Demea's delight at the fruits of his precepts. Diego thinks he is speaking to Leonor instead of Juana. So Sganarelle believes that Valere is deceived as to the identity of his companion when he calls her Isabelle, instead of Leonor. Sganarelle, in his delight over his brother's discomfiture, ironically quotes Ariste's own maxims; similarly Demea, taking vengeance for the failure of his policy, and urging Micio to acts of generosity, ironically quotes Micio's own maxims concerning the avarice of old men. Ariste, like Juan, is loath to believe Sganarelle's accusations against Leonor. Micio reproaches Aeschinus, not so much for his betrayal of Pamphila, as for his injustice to her in failing to take him (Micio) into his confidence, so that he might marry her. Similarly, Ariste reproaches Leonor, not for her supposed flirtation with Valere, but for her failure to take him, Ariste, into her confidence. Sganarelle's reac­tion when he finally realizes that he has been duped is more like Demea's than Sancho's. Sancho admits that he has been at fault; but says that he would always act the same way in the same situation. Demea pretends to be converted to Micio's point of view in order to prove to Micio that he has won the affection of Aeschinus and Ctesipho by indulging them regardless of their own welfare. Sganarelle is as blind as Demea to his own faults. He looks upon his undoing as the result of the perversity 
and ingratitude of women. 
In the matter of characters, I have already indicated that Isabelle and Leonor are perhaps closer to Ctesipho and Aeschinus than to Juana and Leonor, as there is no complete change of heart in Moliere's heroines. One speech of Leonor's would indicate a certain kinship with the Leonor of the Spanish play. Moliere's Leonor says: "Je sais ce qu'en moi feroit la defiance." (vs. 139.) Mendoza's heroine announces that her conduct will depend entirely on her husband's attitude towards her: 
Taz a taz voy con mi esposo, 
Yo cuerda si el avisado, 
y 0 enamorada si el tierno, 
y 0 apacible si el humano, 
Yo fiera si el imperioso, 
Yo enemiga si el contrario, 
Yo rebelde si el terrible, 
y 0 temeraria si el bravo; 
Que no es ley, honor ni deuda, 
Sufrir un duefio, un tirano, 
Muy soherhio de dichoso, 
Muy presumido de ingrato. 

(p. 422.) 
But Moliere neither elaborates the idea nor does he illustrate it as Mendoza does, for Mendoza's heroine renounces Don Diego, with whom she has been in love, and her change of heart is brought about entirely by Juan's attitude towards her. From the beginning, Leonor is frivolous, independent, but loyal and sincere. All these traits are to be found in Aeschinus, and from the beginning. Isabelle has nothing in common with Ctesipho, how· ever, except that she is the same from beginning to end. She uses the same ruses as Dorimond's heroine; but she is a more moral and a more sympathetic character. She justifies her duplicity as Juana does, by main· taining that it is forced on her by the cruel tyranny of her guardian; hut her excuse is more authentic. She has been in love with Valere from the first; Juana flirts with Diego out of vindictiveness. 
Of more importance than the characters of Leonor and Isabelle are those of Ariste and Sganarelle. Were Juan and Sancho the models for Ariste and Sganarelle, rather than Micio and Demea? I think not. I have shown how Ariste's theories of education correspond to Micio's and I have pointed out also that Ariste's attitude is that of a guardian rather than a fiance. Ariste is tolerant, as are both Micio and Juan. But Ariste and Micio are tolerant in a wider sense than Juan. Juan is hardly more than a voice raised in protest against the extremes of the point of honor. When he thinks Leonor unfaithful, he refrains from taking vengeance out of pride and a sense of dignity: 
;. Sera Io mas valeroso. 
Lo mas bizarro, entrar luego, 
Con safia, con furia y rabia, 
Feroz, turbado y soberbio, 
A herir de una mujer flaca 
EI vii descuidado pecho, 
A ensangrentar noble mano 
En rendido infame cuello? 

(p. 427.) 
In Ariste's reaction to Leonor's supposed disloyalty, there is no hint of this attitude. Ariste is hurt at Leonor's failure to confide in him and still maintains that he has no intention of coercing her into a distateful marriage. He does not wish to cross her or bend her to his will. Juan, on the other hand, pursues the policy of indulgence because he thinks this the best way to make Leonor conform to his wishes. Women, according to Juan, must be allowed to think themselves free to do as they please; because, if they are commanded not to do a thing, they will be sure to do it. Juan, therefore, thinks women naturally perverse. Micio's tolerance, on the other hand, springs from a faith in human nature. He sees in both Ctesipho and Aeschinus redeeming qualities. He does not, however, expect too much of them. Their escapades do not horrify him as they do Demea because Micio has a worldly attitude. Ariste hofds a similar view of Leonor's frivolity. In Demea's narrowness and intolerance, Micio sees the results of his life apart from society. He attributes Demea's blindness to any point of view but his own to his igno:rance of the world. Ariste reproaches Sganarelle for his "farouche humeur, dont la severite, Fuit toutes les douceurs de la societe." ( vss. 13-14.) He reproves Sganarelle for his anti-social attitude not only as manifested in his treatment of Isabelle but in his refusal, for instance, to conform to fashions in dress. He thinks that a knowledge of the world is an essential element of educa­tion. Micio is obviously the source of this worldly attitude of Ariste's, of which there is nothing in Juan. Juan criticises Sancho only for his stupid blundering in his misguided precautions against being betrayed by his wife. Micio objects to Demea's lack of measure. He says of him: "ipse est durus praeter aequomque et bonum." (vs. 64.) Demea is not only too hard; he is too glum and unsociable. Ariste has the same criti­cism to make of Sganarelle. Ariste's indulgence of Leonor springs not only from an attitude of worldly tolerance but from affection for his ward and natural generosity, as does Micio's indulgence of Aeschinus. 
Throughout the Latin play, Micio's mildness and kindness are in opposi­tion to Demea's violence and severity. Ariste and Sganarelle offer a similar contrast. M. Martinenche claims for the Spanish play a considerable debt m the matter of the character of Sganarelle: 
Mendoza n'a pas seulement suggere a Moliere la meilleure partie de son intrigue. II Jui a fourni plus d'un trait pour la peinture de ses deux freres. Don Sancho peut se reconnaitre dans Sganarelle. Sa rudesse seche et entetee se manifeste par Jes memes gouts et parfois par Jes memes expressions. Ecoutez-le railler don Juan: "Muy de lo hermano mayor os portais." Ne croirait-on pas entendre Sganarelle: "Monsieur, mon frere aine, car Dieu merci vous l'etes." Lorsque Val ere se presente a Sganarelle il est accueilli avec la meme brusquerie que don Diego trouve chez don Sancho. Et quand ii le traite de "bizarre fou" ii ne fait guere que traduire l'epithete espagnole de "maja­dero." Ne demandez pas plus a don Sancho qu'a Sganarelle de gouter les modes nouvelles. II ne voit clans la toilette qu'une dangereuse importunite. Peu Jui importe, d'ailleurs, le jugement qu'on portera sur lui. Qu'on l'appelle SOt OU crue] OU grossier OU fou, i] consent a meriter tOuteS CeS epithetes, pourvu qu'il ne soit pas ce qu'il pourrait etre. Sganarelle dira avec autant de brutalite: "Enfin la chair est faible, et j'entends to us les bruits, je ne veux point porter de cornes, si je puis."32 
s2op. cit., p. 114. There is a closer resemblance between this speech of Sancho's to which Martinenche refers and one that occurs in I'Ecole des femmes: Don Sancho Chrysalde sera C'est un etrange fait, Que por necio me tendra, qu'avec tant de lumieres Por villano, por grosero, Vous vous effarouchiez tou-Por torpe, por desabrido, j ours sur ces matieres, Por cruel, por insufrible, Qu'en cela vous mettiez le Por extraiio, por terrible, souverain bonheur, Por loco, por atrevido. Et ne conceviez point au 
Pues perdone mi mujer, monde d'autre honneur, Y cuantos se cansen dello; Etre avare, brutal, fourbe, Que todo eso quiero sello, mechant et Iiiche, 
Y no lo que puedo ser.33 N'est rien, a votre avis, au pres de cette tache; Et de quelque fa«;on qu'on puisse avoir vecu, 
On est homme d'honneur quand on n'est point cocu.34 
33El marido hace mujer, p. 423. 84"L'Ecole des femmes," Oeuvres, (Grands Ecrivains de la France ed., Paris), III, 246, vss. 122S-1235. 
That Sganarelle owes something to Sancho cannot be denied. Like Sancho he twits his brother about his age.35 He is brusque and rude to the amiable Valere as Sancho is brusque and rude to Diego. But Demea also is no example of amiability. When he begins practicing politeness in Act VI, he remarks that he has already used three phrases that are not natural to him. ( vss. 884-885.) Like Sancho, Sganarelle takes an un­charitable and malicious delight in the apparent failure of his brother's policy and thinks this failure merited. Like Sancho he is obsessed with the fear of being betrayed by his wife. But this trait he has in common with the earlier Sganarelle of le Cocu imaginaire; and the idea is not stressed in the discussion between Ariste and Sganarelle as it is in those between Juan and Sancho. Like Demea, Sganarelle is gullible. He is taken in by Isabelle's feigned esteem of him and of his theories as Demea is deceived by Syrus's hypocritical flattery. Like Demea Sganarelle is choleric and always flying into a rage. Like Demea Sganarelle lives in the country. He proposes to take Isabelle away from the corruption of the city, as Demea tries to keep Ctesipho on the farm and out of the way of the temptations of the city. Moliere suggests another motive than fear of betrayal for Sganarelle's determination to impose a sober and frugal life on Isabelle. His delight at the edict limiting expenditure on clothes arises from avarice, since he says: 
Les peines des maris ne seront pas si grandes, Et les femmes auront un £rein a leurs demandes. (vss. 535-536.) 
Micio suspects a similar motive behind Demea's despair at the escapades of Aeschinus. (vss. 833-834.) Like Demea Sganarelle is anti-social but Sganarelle's anti-social attitude is expressed not only in his narrowness and intolerance but in his refusal to follow the fashions of the day. Sgana­relle is a typical Molieresque character, "un de ces passiones aveugles a 
asMoliere's following Mendoza in making one brother much older than the other is difficult to understand. He could hardly have thought that age brings reason and tolerance. M. Abel Lefranc has suggested an autobiographical explanation that is not altogether convincing. M. Michaut discards the subjective theory interpreting it to mean that Moliere wrote the play to persuade Armande to marry him despite the great difference in their ages. This theory becomes more plausible, it seems to me, if we assume that Moliere wished to convince not Armande, but himself, to silence his own fears as to the outcome of such a marriage. He was merely expressing his desire, unconsciously even, it is possible, that such a marriage should prove happy. 
For Lefranc's theory and Michaut's comment, see Michaut, op. cit., pp. 129-131. 
l'egard de leurs extravagances."36 Demea also belongs to this type. He is incapable of measure in anything. Micio describes him as hard past measure and right: "ipse est durus praeter aequomque et bonum." (vs. 64.) Micio accuses him also of an egotistic blindness to any other point of view than his own and attributes this egotism to his lack of knowledge of the world. (vss. 98-99.) There is one point, however, in which Sganarelle apparently departs from both Sancho and Demea. When he discovers that all his plans have gone awry and that his system has failed utterly, he does not admit any fault either in his theories or in himself. He blames the perversity and ingratitude of women: 
Non, je ne puis sortir de mon etonnement; 
Cette deloyaute confond mon jugement; 
Et je ne pense pas que Satan en personne 
Puisse etre si mechant qu'une telle friponne. 
J'aurois pour elle au feu mis la main que voila: 
Malheureux qui se fie a femme apres cela! 
La meilleure est toujours en malice feconde; 
C'est un sexe engendre pour damner tout le monde. 
J'y renonce a jamais, a ce sexe trompeur, 
Et je ie donne tout au diable de hon coeur. 
( vss. 1101-1110.) 
Sancho, although he says he could never act otherwise than he has done, admits that he was wrong: 
Yo conozco Mi horror, mi engaiio; mas ser Marido en paz no es posible; Siempre hare lo mismo. 
(p. 436.) 
Sganarelle is incapable of self-criticism such as this. The effect on Demea of the collapse of his belief that Ctesipho is living the frugal and abstemi­ous life which he wants him to live is difficult to interpret. The ending of Terence's play has given rise to much discussion. Wolff, among others, thinks that Demea is metamorphosed into a generous advocate of freedom.87 If Wolff is right, then Sganarelle departs radically from Demea in this respect. Wolff's opinion and that of other critics to the contrary, however, I think there is abundant evidence in the text of the Adelphoe that Demea's 
ssp. Despine, La science du coeur humain ou la psychologie des sentiments et des 
passions d' apres Les oeuvres de Moliere, (Paris: 1884), p. 34. 
87Qp. cit., p. 487. 
conversion is not genuine. To be sure, he announces his intention hence­forth to pursue Micio's course of complaisance and mildness. ( vss. 859­860.) But he does so in a spirit of bitterness towards Micio and resentment at the ingratitude of his sons, who love Micio because of his indulgence and who shun him, Demea, who has, as he believes, their best interests at heart. That his avarice remains with him is evident from the first. He realizes what the cost of his policy will be, he says, but since he is the oldest of the four, it will affect him least: "Deerit: id mea minume re fert, qui sum natu maxumus." (vs. 881.) 38 But he does not spend his own money, after all. It is Micio's purse that suffers from Demea's sudden generosity. First he has Pamphila and her family brought to Micio's house. His motive he reveals in the following speech:: "Fratri aedes fient peruiae, turbam domum Adducet, sumptu ammittet multa: quid mea?" (vss. 912-913.) He then persuades Micio to marry Sostrata, the mother of Pamphila, and to give a farm to her kinsman, Hegio, and to free Syrus and his wife. That he is merely trying to demonstrate the fallacy of Micio's theories and to take vengeance on Micio for having won the affection of his sons is obvious from the fact that he quotes ironically Micio's own words: "'uitium com­mune omniumst, Quod nimium ad rem in senecta attenti sumus,' " ( vss. 953-954.) and that he says, in an aside, that he is cutting Micio's throat with his own sword. (vs. 958.) Even this change of front, however, assumed in order to punish Micio, is soon thrown off and the old Demea reappears. He admits to Micio that his sudden amiability and generosity have as their purpose to show Micio that what Aeschinus and Ctesipho consider his good nature does not spring from sincerity or from justice and goodness but from complaisance and indulgence. Generosity he points to as a fault: 
Dicam tihi: Vt. id ostenderem, quod te isti facilem et festiuom putant Id non fieri ex uera uita neque adeo ex aequo et hono, Sed ex adsentando, indulgendo et largiendo, Micio. 
( vss. 985-988.) S9 
Certainly his reasoning is muddled enough to show his folly. But Terence's intention is plainly revealed in the verses that follow. Demea then turns to Aeschinus and tells him that if his, Demea's, life is odious to Aeschinus 
SSDonatus makes the following comment on this vese : 
"Uide remanere in Demea non penitus eiectam severitatem." Op. cit., p. 167. 
S9Qn the word largiendo, Donatus has the following comment: 
"Attendendum est indulgentiam a Demea culpae ascrihi denuo." Op. cit., p. 184. 

and Ctesipho because he refuses to fall in with their wishes or to indulge their every caprice, he washes his hands of them. Let them squander as they please and indulge every whim. At this point Demea repeats his conduct of Act I and he uses somewhat similar words. In Act I he says to Micio: 
si tibi istuc placet, Profundat perdat pereat, nil ad me attinet. ( vss. 133-134.) 
In Act VI he says: 
"Missa facio : ecfundite, emite, facite quod uobis lubet." (vs. 991.) 4o 
Demea continues that he is ready to reprove, correct, and advise Aeschinus and Ctesipho when they need him, implying that he still believes in his superior wisdom: 
Sed si id uoltis potius, quae uos propter adulescentiam 
Minus uidetis, magis inpense cupitis, consulitis parum, 
Haec reprehendere et corrigere et secundare in loco: 
Ecce me, qui id faciam uobis.41 
(vss. 992-995.) 
Thus Demea, in the end, as in the beginning, is convinced of his rightness. His failure with Ctesipho merely aroused resentment at his son's lack of appreciation and jealousy of Micio's place in the boys' affections. Sgana­relle not only resembles Demea, in his blindness to his mistakes, but his last misogynic speech has in it something of Demea's scorn for the youths who love Micio because of his indulgence and who are not grateful for his, Demea's, efforts for their moral good. Even if my interpretation of Demea's character is not the correct one-and the evidence seems to me to be in its favor-it is likely that it was Moliere's interpretation, since it is Donatus's and Moliere knew Donatus. It is fairJy certain then that Sganarelle owes to Demea his outstanding trait of ineradicable belief in the rightness of his own narrow attitude and complete blindness to his mistakes even in the face of an overwhelming demonstration of the in­effectiveness of his system. 
The relation of the characters of Moliere's play to those of his two 
sources may be summed up in the following table: 
400£ this verse Donatus says: "Prope rediit rursus ad amaritudinem pristinam." Op. cit., p. 184. 41Donatus remarks of verse 992: "Hie ostendit Terentius magis Demeam simulasse mutatos mores quam mutavisse." Op. cit., p. 184. 
CORRESPONDING CHARACTERS IN THE ADELPHOE, L'ECOLE DES MARIS, AND EL MARIDO HACE MUJER•2 
ADELPHOE 
stingy choleric 
D 	narrow 
emea 	intolerant anti-social incorrigible
! 

Micio 
mild 
tolerant 
generous worldly indulgent believes in goodness of human nature believes in trusting to children's honor 
frivolous 
Aeschinus unselfish
{ 
loyal 
weak 
Ctesipho ~o initia­
{ 

tive 
42Moliere owes nothing in L'ECOLE 
Sganarelle 
stingy choleric brusque intolerant 
narrow anti-social incorrigible obsessed with fear of being a cuckold malicious 
mild tolerant generous indulgent 
Ariste 
worldly 
believes in 
tru~ting in 
honor and 
affection of 
children 
frivolous 
Leonor 
Isabelle 
{ 1oya1 
rusee determined to outwit Sgana­relle, not through a vin­dictive spirit but because she loves Valere 
EL MARIDO 
Sancho 
Juan 
brusque 
intolerant obsessed with the fear of beinga cuckold malicious 
tolerant opposed to the extremes of the point of honor believes trust best policy in dealing with 
women 
at first in love 
l 
with Diego and planning to de-
Leonor 	ceive Juan, her husband. Lat.er loyal. 
Juana 
at first aus­tere and severe in her attitude towards mar­riage. Later 
vindictive takes vengeance on Sancho by meeting Diego, whom she does not love 
the delineation of his characters to Larivey. Only one 
scene of his play corresponds to les Esprits and I have shown that he took this scene 
In composing l' Ecole des maris, Moliere has so blended material from the Adelphoe and El marido hace mujer that it has been difficult to sift out and to disentangle the two influences; but it is obvious that each play contributed different elements. Neither the Latin nor the Spanish influence can be dismissed as insignificant. The nature of Moliere's borrowings from Terence indicates that, in constructing his play, he must have had the Adelphoe before him; while the reminiscences of the Spanish play are such as might have been contributed by a play merely seen, not neces­sarily read and studied. El marido probably suggested the possibility of substituting two young women for Terence's two young men, a change which enabled Moliere to use the intrigue of la Femme industrieuse in his second act and to bring again to the stage the comical Sganarelle with his obsessing fear of wearing horns. He makes the young women the wards instead of the brides of his two brothers because he is using the theme of Terence's play, rather than that of Mendoza's. The Adelphoe contributed the major thesis, that tolerance and indulgence and an attitude of trust rather than suspicion and tyranny should be practiced in dealing with young people. The Spanish play furnished the minor theme that tyranny begets in women the desire to sin, the principal theme of El marido, which Moliere has properly subordinated to the main thesis of his play by transferring it from the raisonneur to the soubrette. He has, moreover, avoided illustrating this thesis in his denouement. To have followed the theme to such a conclusion as Mendoza's play offers, would have been to do violence to Moliere's conception of character and to Terence's. It would have been too flagrant a violation of the rule of consistency. El marido hace mujer may have furnished also the secondary theme that "a woman guarded is half won," a theme which Moliere again transfers from a principal to a servant. 
Since Act I is an exposition of the policy of indulgence and trust as opposed to that of severity and suspicion, Act I follows Terence more closely than Act III. It is likely that Moliere used Act I of the Adelphoe as a framework for the construction of his own first act, altering the words where the altered situation demanded it, modernizing Demea's anti-social attitude by introducing Sganarelle's satire of contemporaneous fashions in 
from Terence and not from Larivey. Those qualities in Hilaire which correspond to Ariste's traits are also those of Micio and Moliere took them from Micio. Severin, who corresponds to Demea and to Sganarelle, has nothing in common with either. He is described as being "envieux, ypocrite, superbe, nonchalant, mensonger, larron, sans foy, sans Joy, sans honte, sans amour, bref, un monstre engendre des vices et de la sottise." P. 220. 
dress, and adding two incidents patterned after the Spanish play. Although Act III follows El marido in the details of the denouement, it is not con­structed independently of Terence. Two points of resemblance are of particular significance. Ariste, even in the wholly different situation, corresponds exactly to Micio. Micio reproaches Aeschinus, not for the betrayal of Pamphila, but for failing to confide in him, Micio. Ariste makes a similar reproach to Leonor. Sganarelle's reaction to Isabelle's successful ruse is analagous to Demea's reaction to the revelation of Ctesipho's guilt. 
Sganarelle, in fact, resembles Demea perhaps more closely than Sancho. He is a more farcical ch<Jracter than Demea, and he gets his fear of betrayal, perhaps, from Sancho and certainly his malignity as evinced in his twitting Ariste about his age and in his uncharitable delight at the apparent failure of Ariste's policy towards Leonor. But his violence, his anti-social attitude, his glumness, and, above all, his incorrigibility, his blindness to his own faults and mistakes, are from Demea. Ariste's mildness, his worldly attitude, his generosity, are all found in Micio. Leonor has some traits in common with Aeschinus. Isabelle is l\foliere's own creation. She resembles only slightly the Isabelle of Dorimond's play and Juana of the Spanish play. 
The Spanish influence in l' Ecole des maris is extraneous and superficial. El marido hace mujer presents a conception of character to which Moliere did not subscribe and a much narrower theme than that of l'Ecole des maris. The Latin influence is the more fundamental and organic, since Moliere took from the Adelphoe the philosophy and the conception of character expressed in l' Ecole des maris. His consistent following of Terence in the presentation of Ariste and Sganarelle suggests a general kinship with Terence in the conception of character. The analogy between Moliere's theories of comedy as a genre and of comic character and those which commentators formulated from the plays of Terence, I shall study in the next chapter. 
CHAPTER III 
Donatus and Moliere's Theory of Drama 
It is a commonplace of criticism to say that Moliere, representing the irreguliers in the theory of the drama, cast overboard all the rules, relying solely on le bon sens for guidance in the composition of his comedies. Even this cavalier attitude towards the sacred rules, however, has been traced to its source; and to Lope de Vega has gone the credit for Moliere's emancipation from the pseudo-Aristotelian tyranny. Moliere is, indeed, in accord with Lope in his belief that the rule of rules is to please the public. He makes Dor ante say in la Critique de l' Ecole des femmes: 
Yous etes de plaisantes gens avec VOS regles dont vous embarrassez !es ignorants, et nous etourdissez tous Jes jours. II semble, a VOUS oulr parler, que ces regles de !'art soient Jes plus grands mysteres du monde; et cependant ce ne sont que quelques observations aisees, que le hon sens a faites sur ce qui peut oter le plaisir que !'on prend a ces sortes de poemes; et le meme hon sens qui a fait autrefois ces observations !es fait aisement tous !es jours, sans le secours d'Horace et d'Aristote. Je voudrois bien savoir si Ia grande regle de toutes !es regles n'est pas de plaire, et si une piece de theatre qui a attrape son but n'a pas suivi un hon chemin. Veut-on que tout un public s'abuse sur ces sortes de choses, et que chacun n'y soit pas juge du plaisir qu'il y prend?l 
Guillaume Huszar has pointed out the similarity of this and other passages of the Critique to Lope de Vega's Arte nuevo de hacer comedias en este tiempo. 
Voila comme s'exprime Moliere par Ia bouche de Dorante (Scene V, 
p. 359); voici ce que dit Lope a Ia fin de son Nouvel Art: 
Sustento en fin Io que escrivi y conozco Que, aunque fuera mejor de otra manera, No tuvieran el gusto que han tenido: Porque a vezes lo que es contra Io j us to Por la misma razon deleyta el gusto. 
On voit que Lope et Moliere donnent la meme valeur et la meme place aux regles clans !'art dramatique. Dans !es details meme de Ieurs theories poeti­ques, on constate des accords qu'il serait difficile d'attribuer au pur hasard. Moliere n'a-t-il pas pu lire en meme temps que !es comedias de Lope, son Nouvel Art? Qu'on se reporte aux paroles que nous avons citees: il s'agit "du but a atteindre par la vraie comedie" qui est 
1 0euvres, Hachette edition, III, 357-358. 
Imitar las acciones de los hombres Y pintar de aquel siglo las costumbres.2 
The passage from Moliere, isolated from the context, would seem to prove Huszar's assertion, at least that Moliere was in accord with Lope. It is doubtful, however, whether this attitude of Moliere can be justifiably attributed to Lope rather than to Moliere's French predecessors, such as Hardy, for instance, who says: "Tout ce qu'approuve !'usage et qui plait au gout public devient plus que legitime."3 
In fact, we need look no further back than Corneille to find a precedent for Moliere's attitude toward the rules. Although Corneille finally bows to the rules, he does so reluctantly: 
Bien que, selon Aristote, le seul but de la poes1e dramatique soit de plaire aux spectateurs, et que la plupart de ces poemes leur ayant plu, je veux bien avouer toutefois que beaucoup d'entre eux n'ont pas atteint le but de !'art. II ne faut pas pretendre, di't ce philosophe, que ce genre de poesie nous donne toute sorte de plaisir, mais seulement celui qui Jui est propre, et pour le donner aux spectateurs, il faut suivre !es pt"eceptes de !'art, et leur plaire selon les regles.4 
He makes elsewhere, however, but slight concessions to the rules: 
Cependant mon avis est celui de Terence: puisque nous faisons des poemes pour etre representes, notre premier but doit etre de plaire a la cour et au peuple, et d'attirer un grand nombre a leurs representations. II faut, s'il se peut, y ajouter !es regles, afin de ne deplaire pas aux savants et recevoir un applaudissement universel; mais surtout gagnons la voix publique; autrement notre piece aura beau etre reguliere.s 
So even adherence to the rules is an attempt to please the public, that part of the public which insists on the rules, that is, the savants. And the savants are after all only an inconsiderable part of the public. The author must first of all please the public at large; then, if possible, gain the approval of the savants to boot, in order to have the suffrages of all his public! 
"Laissons-nous aller de bonne foi aux choses qui nous prennent par les entrailles, et ne cherchons point de raisonnements pour nous empecher 
2Moliere et l' Espagne (Paris, 1907), pp. 128 ff. BQuoted by Charles Arnaud in Les Theories dramatiques du XVIle siecle, Etude sur la vie et Les oeuvres de l'Abbe d' Aubignac (Paris, 1888), p. 133. 
•"Discours de l'utilite et des parties du poeme dramatique," Oeuvres, ed. Marty­
Laveaux 	(Paris, 1862), I, 13. 
5"Epitre dedicatoire de la Suivante," Oeuvres, 11, 119. 

d'avoir du plaisir,"6 says Moliere. Is not Corneille saying the same thing in different words when he maintains that "les regles ne sont que des adresses pour en faciliter les moyens (i.e., les moyens de plaire), et non pas des raisons qui puissent persuader aux spectateurs qu'une chose soit agreable quand elle leur de plait" ?1 
Compare the following remark of Moliere: 
Veut-0n que tout un publique s'abuse sur ces sortes de choses, et que chacun ne soit pas juge du plaisir qu'il r prend? 
. .. et cependant ce ne sont que quelques observations aisees, que le hon sens a faites sur ce qui peut oter le plaisir que l'on prend a ces sortes de choses.a 
Is not this exactly the same thing as Corneille's "les regles ne sont que des adresses pour en faciliter les moyens" (i.e., les moyens de plaire)? 
Both Corneille and Moliere insist that the chief aim of dramatic poetry is to please the public. Corneille would please according to the rules, if possible, but he maintains that a play cannot please the public merely by being regular. They both insist that the spectator must be his own judge of what pleases him. 
Corneille cites Terence as his authority for making it his first rule to please the public. He is referring to the prologue of the Andria, where Terence says: 
Poeta quom primum animum ad scribendum adpulit, 
Id sibi negoti credidit solum dari, 
Populo ut placerent quas fecisset fabulas. 9 

Corneille and Moliere look upon the rules as a means of pleasing the public and both have some regard for the judgment of their public. Lope, on the other hand, reluctantly renounces the rules in order to please a public whose taste he scorns: 
Verdad es que yo he escrito algunas vezes 
Siguiendo el arte que conocen pocos, 
Mas, luego que salir por otra parte 
Yeo los monstruos, de apariencias llenos, 
Adonde acude el vulgu y las mugeres 
Que este triste exercicio canonizan 
A aquel habito barbaro me buelvo, 
Y quando he de escrivir una comedia, 

60p. cit., p. 359. 
T"Epitre dedicatoire de Medee," Oeur-res, II, 332. 
sop. cit., p. 358. 
flComoediae, ed. Dziatzko (Leipzig, 1884), verses 1-3. 

Encierro los preceptos con seis Haves, 
Saco a Terencio y Plauto de mi estudio, 
Para que no me den vozes, que suele 
Dar gritos la verdad en libros mudos, 
Y escrivo por el arte que inventaron 
Los que el vulgar aplauso pretendieron; 
Porque, como los paga el vulgo, es justo 
Hablarle en necio para darle gusto.10 

Moliere admits no such conflict between the rules and the taste of his audience. Dorante maintains that l' Ecole des femmes has not violated a single rule, a statement that is startling from one who supposedly scorns rules: 
Mais avec cela, je soutiens qu'elle (la piece) ne peche contre aucune des 
regles dont vous parlez. Je les ai lues, Dieu merci, autant qu'un autre; 
et je ferois voir aisement que peut-etre n'avons-nous point de piece au 
theatre plus reguliere que celle-la.11 
What rules does Moliere have in mind? Certainly not the pseudo­Aristotelian rules of tragedy that his generation was seeking to impose on comedy. La Critique is first a defense of comedy as a genre. Six years before la Critique was presented, l'Abbe d'Aubignac had treated comedy rather slightingly.12 It is more than likely that the abbe's ideas were being discussed in the salons at the time of the appeance of l'Ecole des femmes. D'Aubignac's scorn is the culmination of a growing neglect of the genre by theorists, a neglect which may correspond to the increasing prestige of Aristotle, who has very little to say of comedy. If Moliere is to invoke rules in justification of his comedy-and we have seen that Dorante asserts that he knows the rules and that l' Ecole des femmes sins against none of them­where is Moliere likely to turn for his authority? Although comedy has gained considerably in popularity during the decade 1650 to 166018 and the public has shown a taste for a more realistic imitation of "nature," contemporary theorists either denounce comedy or accord it only brief and perfunctory mention. If we except Mairet's prefaceH to his Silvanire, 
lO''Arte nuevo de hacer comedias en esle tiempo," "Bulletin Hispanique, III, verses 33-48. 
11Moliere, op. cit., p. 360. 
12F. Hedelin, abhe d'Aubignac, La Pratique du theatre, ed. Martino, Paris, 1927. This treatise was first published in 1657. 
lBMr. Colbert Searles has pointed out the fact that more comedies were produced between 1651 and 1660 than tragedies. "The First Six Decades of French Seventeenth Century Comedy," Modem Philology, XXIll (1925), 153-165. 
H"Preface, en forme de discours poetique," published with Silvanire (Paris, 1631). 
in which he discusses the rules of comedy as applied to the pastoral, but is chiefly concerned with the unities, we must go back to the end of the sixteenth century for any serious discussion of the genre. Even these dis­cussions are meager, but, such as they are, they owe much to Donatus's treatise on comedy. The Commentary on Terence ascribed to Donatus together with the two short treatises appearing in Wessner's edition of the Commentary15 under the titles Evanthius De Fabula and Excerpta de comoedia accompanied the text of Terence's plays in many of the early editions,16 usually under the title De Tragoedia ac (et) comoedia. 
Let us examine the Critique as a defense of comedy and as an apology for l' Ecole des femmes, and compare Dorante's arguments with Donatus's 'treatment of the same questions in the De Comoedia and the De Fabula and in the Commentary. 
The Critique consists of a conversation between three ladies, a marquis, a courtier, and a poet, on the subject of Moliere's recent success, l'Ecole des femmes. Two of the ladies defend the play, while a third, Climene, attacks it. The poet, Lysidas, is the champion of the Aristotelian rules. Dorante is Moliere's mouthpiece. 
Lysidas's attack is directed first at comedy as a genre. He laments the popularity of comedy and expresses disdain for the genre: 
Mais enfin, sans choquer l'amitie que monsieur le chevalier temoigne pour I'auteur, on m'avouera que ces sortes de comedies ne sont pas proprement des comedies, et qu'il y a une grande difference de toutes ces bagatelles a Ia beaute des pieces serieuses. Cependant tout le monde donne 18-dedans au·iourd'hui; on ne court plus qu'a cela, et l'on voit une solitude effroyable aux grands ouvrages, lorsque des sottises ont tout Paris. Je vous avoue que le coeur m'en saigne quelquefois; et cela est honteux pour Ia France.17 
Dorante replies: 
Vous croyez, done, monsieur Lysidas, que tout I'esprit et toute la beaute sont dans les poemes serieux, et que les pieces comiques sont des niaiseries qui ne meritent aucune louange ?18 
Lysidas voices the sentiments of the theorists who are taking a desperate stand against the public. Mr. Searles has shown that comedy increased 
15Aeli Donati quod fertur Commentum Terenti (Leipzig, 1902-5). 16See P. Terentii Afri poetae "tepidissimi Comoediae omnes cum absolutis commen· tariis Aelii Donati (Venice: J. M. Bonnellum, 1558). 
P. Terentii Comoediae sex tum ex Donati commentariis (Paris: R. Stephanus, 1536). 
110p. cit., Sc. VI, p. 349. 
18/bid., p. 351. 

in popularity during the decade from 1650 to 1660, indeed that more comedies than tragedies were produced. 19 
This scorn for comedy has been apparent in the arts poetiques since Laudun d'Aigaliers, who accords no more than a few cliches to the subject. Jules de la Mesnardiere is more positive: 
La Deuxieme des especes de notre Poeme Dramatique est la simple comedie, fort recherchee autrefois par la populace de Grece et par celle d'ltalie, et mesme encore approuvee par des nations fort serieuses, bien qu'elle n'ait rien de grave, ni de tragique.20 
In 1657 !'Abbe d'Aubignac published La Pratique du theatre, in which he expresses contempt for the genre. Compare D'Aubignac and Lysidas, page 102. 
C'est pour cela (because tragedy represents noble sentiments and heroic passions) mesme que nous voyons dans la Cour de France les Tragedies mieux receues que les Comedies, et que parmy le petit Peuple les Comedies, et mesme les Farces et vilaines bouffonneries de nos theatres sont tenues plus divertissantes que les Tragedies. Dans ce Royaume les personnes, ou de naissance, ou nourries parmy les Grands, ne s'entretiennent que de senti­ments genereux et ne se portent qu'a de hauts desseins ou par les mouve­ments de la vertu, ou par les emportements de !'ambition; de sorte que leur vie a beaucoup de rapport aux representations du Theatre Tragique . . . . Mais la populace elevee dans la fange et entretenue de sentiments et de discours des-honnestes, se trouve fort disposee a recevoir pour bonnes, les mechantes bouffonneries de nos farces et prend toujours plaisir d'y voir les images de ce qu'elle a accoustume de dire et de faire.21 
For D'Aubignac comedy is a genre hardly worthy of the French public of the seventeenth century. Tragedy, on the other hand, faithfully reflects the life of the spectators. Moliere's defense of comedy is based on the contention that comedy alone paints real life while tragedy departs from life and follows only the imagination of the author. Rene Bray has shown that, despite the change in taste of the public, the theorists still cling to an idealistic interpretation of "nature": 
Bien que les formules de !'imitation de la nature se retrouvent a peu pres identiques d'un bout a l'autre du siecle, la notion de nature tend a se retrecir vers 1660 et ne s'applique plus pour l'ecole de Boileau qu'a la verite moyenne et quotidienne.22 
19See note 13, page 101. 
"l.OPoetique (Paris, 1640), p. 7. 
21op. cit., pp. 74-75. 
22La Formation de la doctrine classique en France (Paris, 1927), p. 148. 

104 The University of Texas Bulletin 
Cette notion du nature! est tres vaste; elle s'applique aux caracteres de la tragedie ou de l'epopee comme au style de l'epigramme. Elle exprime la conformite de !'oeuvre d'art aun modele ideal qu'on appelle conventionelle· ment la nature.2s 
II (le nature!) ecarte le laid, la laideur morale encore plus que la laideur materielle. II n'imite que le beau, el encore une heaute conventionnelle, Conforme a son gout etroit. II laisse de cote la nature pittoresque, le monde exterieur. II s'attache a la nature humaine surtout. Nous avons pu re· connaitre que vers 1660 le gout se modifiait, qu'on tendait a moins de con· vention, a plus de verite dans la conception de la nature, modele de l'art. Mais dans la theorie tout au moins, !'evolution est peu sensible. Avec l'apparence du naturalisme, !'art classique est tout entier un pur idealisme.24 
Clearly it is not to this ideal conception of nature that Moliere refers, since he draws so sharply the distinction between comedy and tragedy. In the minds of the theorists of this decade, all art was an imitation of nature, but of a highly idealized and conventionalized nature. Where did Moliere get his notion that the faithful representation of everyday life was the particular province of comedy and that tragedy departed so far from nature? 
Donatus insists that comedy must reproduce manners and not depart from life. He does not explicitly state that this realism distinguishes comedy from tragedy but he is defining comedy and he reiterates this characteristic. The passages dealing with the subject are as follows: 
"Cum in fictis argumentis fidem ueritatis assequeretur."25 "tum illud est admirandum quod et morem retinuit ut comoediam 
scriberet et temperauit affectum, ne in tragoediam transiliret."26 "consuetudini congrua. " 27 "comoediam esse Cicero ait imitationem uitae, speculum consuetudinis, 
imaginem ueritatis."28 "sub imitatione uitae atque morum similitudine compositum est."29 
aitque (Livius Andronicus) esse comoediam cotidianae uitae speculum, nee iniuria. nam ut intenti speculo ueritatis liniamenta facile per imaginem colligimus, ita lectione comoediae imitationem uitae consuetudinisque non aegerrime animaduertimus. 80 
281bid., p. 143. 
24/bid., p. 158. 
25Commentum Terenti, Evanthius, 111-4. 
26/bid., Evanthius, 111-5. 
27/bid., Evanthius, 11--0. 
28/bid., De Comoedia, V-1. 
29/bid., De Comoedia, V-3. 
aOJbid., De Comoedia, V-5. 

Moliere and Terence, A Study in Moliere's Realism 105 
The importance accorded by Donatus to the idea that comedy must reproduce life faithfully is indicated by the fact that for him this require­ment took precedence over all others. He excuses Terence for violating the rule of propriety on the grounds that he is truthfully depicting life: 
tum personarum leges circa habitum, aetatem, officium, partes agendi nemo diligentius a Terentio custodiuit. quin etiam solus ausus est, cum in fictis argumentis fidem ueritatis assequeretur, etiam contra praescripta comica meretrices interdum non malas introducere, quibus tamen et causa, cur bonae sint, et uoluptas per ipsum non defit.31 
In all the dramatic criticism of the Renaissance and later are found echoes of these phrases of Donatus, but they are no longer applied to comedy alone and comedy and tragedy are distinguished on other grounds. With Peletier du Mans comedy is a mirror of life because the characters are plebeian: 
"La Comedie a ete dite par Live Andronique, le premier Ecriteur de Comedies Latines, le miroer de la vie; parce qu'an ele s'introduisent per­sonnes populeres."82 
Ronsard applies "mirouers de la vie" to tragedy and comedy alike.88 Vauquelin de la Fresnaye uses the phrase to describe the epic: 
"C'est un tableau du monde, un miroir qui rapporte Les gestes des mortels en differente sorte."34 
There is still another faint echo of Donatus's speculum vitae in Mairet's preface to Silvanire: 
"De sorte que la tragedie est comme le miroir de la fragilite des choses humaines."85 As late as 1658, however, we find Donatus's phrases again applied to comedy: 
Qu'est-ce que le Poeme Epique, sinon une parfaite imitation des actions genereuses des grands Heros? La Comedie, qu'un miroir des moeurs du temps, qu'une image de la verite, et en un mot qu'une belle et excellente imitation de la vie?36 
a1/bid., Evanthius, III-4. 
32Art Poetique (Lyon. 1555), p. 70. 
88Preface to Franciade, vol. III, Oeuvres Completes, ed. Laumonier (Paris, 1914­
1919), VII, 79. 34Art Poetique, ed. Pelissier (Paris, 1885), p. 26. 35Ed. Otto (Bamberg, 1890), p. 14. 36G. Colletet, Discours de l'eloquenr,c et de l'imitation des Anciens (Paris, 1658) ,, 
18 
p. · l'l 1 h' h M l" . 't t d . l
Nicolo Secchi, in the prologue to nteresse, a p ay w ic o 1ere 1m1 a e. m. e Depit amoureux, defines comedy as a portrayal of everyday life and stresses this pomt 
But Colletet is not concerned with comedy and says no more than this. Moreover, the adjectives "belle" and "excellente" with which he qualifies Donatus's "imitation of life" betray a preoccupation with "la belle nature." 
For d'Aubignac tragedy is an image of life as well as comedy: 
Le Theatre estant peu a peu et par degrez monte a sa derniere perfection, devint enfin (a) l'lmage sensible et mouvante de toute la vie humaine. 
(b) Or comme ii y a trois sortes de Vies, celle des Grands dans la Cour des Roys, celle des Bourgeois dans !es Villes, et celle des gens de la Cam· pagne; le Theatre aussi a receu trois genres de Poemes Dramatiques qui portent en particular le caractere de chacune de ces trois sortes de Vies, s~avoir la Tragedie, la ComUie, et la Satyre ou Pastorale.37 
By the time we reach Corneille, the terms used by Donatus have become synonymous with the Aristotelian term imitation and are applied to all genres. 
Comedy and tragedy are distinguished on other grounds. Donatus devotes one paragraph to these other distinctions between the two genres: 
inter tragoediam autem et comoediam cum multa tum inprimis hoc distat, quod in comoedia mediocres fortunae hominum, parui impetus periculorum laetique sunt exitus actionum, at in tragoedia omnia contra, ingentes per­sonae, magni timores, exitus funesti habentur; et illic prima turbulenta, tranquilla ultima, in tragoedia contrario ordine res aguntur; tum quod in tragoedia fugienda uita, in comoedia capessenda exprimitur; postremo quod omnis comoedia de fictis est argumentis, tragoedia saepe de historia fide petitur.ss 
We can trace in the dramatic criticism that follows increasing emphasis on these distinctions to the neglect of the speculum cotwianae vitae idea so important for Donatus. Perhaps the shift is due to the growing prestige of Aristotle. Peletier considers rank of character, outcome, and style the distinguishing characteristics: 
Car au lieu des Personnes Comiques, qui sont de basse condicion; an la Tragedie s'introduisent Roes, Princes e grans signeurs. E au lieu qu'an la 
in his differentiation of comedy and tragedy. He also applies the word specchio to comedy alone; but he emphasizes the moral purpose of the genre: "Nella qual Comedia, riguardandosi l'huomo quasi come in un Specchio, puo, se e di brutto animo, farsi hello, et se e di hello animo, farsi molto piu hello." See Moliere, Oeuvres, ed. Moland, III, 57-58. 
s1D'Aubignac, op. cit., p. 142. 
BBOp. cit., Evanthius, IV-2. 

Comedie Jes choses ont joyeuse issue an la Tragedie, la fin et tousjours luctueuse et lamentable, OU horrible a voer,39 
La Comedie parle facilment e comme nous avons dit, populerement. La Tragedie et sublime, capable de grandes matieres tant principales que depandantes; an somme ne differant rien de l'Euvre Heroique quant aus personnes.40 
For J. C. Scaliger tragedy is patterned after real life, but it differs from comedy in the rank of the characters, in the nature of the action, in the outcome and in the style: 
Tragoedia, sicut et Comoedia, in exemplis humanae vitae conformata, tribus ab illa differt, Personarum conditione, fortunarum negotiorumque qualitate, exitu. ( uare stylo quoque differat necesse est. In illa e pagis sumpti Chremetis, Davi, Thaides loco humili: lnitia turbatiuscula: fines laeti. Sermo de medio sumptus. In Tragoedia Reges, Principes, ex urbibus arcibus, castris. Principia sedatiora; exitus horribiles. Oratio gravius, culta, a vulgi dictatione aversa, tota facies anxia, metus, minae, exilia, mortes.41 
D'Aigaliers distinguishes the two genres on the basis of subject matter and rank of characters, although he does quote Donatus as his authority: 
Comedie et un genre de poeme, comme tesmoigne Donat en sa preface sur Terence, auquel sont introduictes personnes viles et de bas estat, pouce que Ia comedie se represente en public, ainsi que Ia tragedie. 42 
Vauquelin calls comedy the imitation of an evil action: 
La comedie est done une contrefaisance D'un fait qu'on tient meschant par la commune usance.43 
For La Mesnardiere the distinction lies in the nature of the action and in the style: 
Le mot d'action (he is commenting on Aristotle's definition of tragedy) complete et celui de grande importance decouvrent !es qualitez que doit avoir la matiere dont la Tragedie est formee et distinguent son sujet de celui de Ia Comedie; comme d'ailleurs ces autres mots serieuse et magnifique separent le stile Tragique de la diction Comique.44 
890p. cit., pp. 71-72. 
40/bid., p.72. 
41Poetices Iibri Septem (Lyon, 1561), chap. VI, Bk. I, p. 11. 
42Art Poetique, ed. Joseph Dedieu (Toulouse, 1909), p. 151. 
480p. cit., p. 133. 
HOp. cit., p. 8. 

Corneille believes that tragedy and comedy are distinguished by rank of characters and especially by the nature of the action imitated, and expressly denies any difference in the manner of imitation: 
La difference de ces deux especes de poemes ne consiste qu'en la dignite des personnages et des actions qu'ils imitent, et non pas en la fagon de les imiter ni aux choses qui servent a celte imitation.45 
La comedie differe done en cela de la tragedie, que celle-ci veut pour son sujet une action illustre, extraordinaire, serieuse; cella-Ia s'arrete a une action commune et enjouee.46 
For Moliere the faithful representation of life distinguished comedy from tragedy, which was not bound by any law of reality. In his careful observation of everyday life lies the superiority of the writer of comedies. Moliere undertakes (in the person of Dorante) a defense of comedy based on the contention that comedy alone paints men as they are and requires painstaking observation of contemporary life while tragedy is remote from life, representing men as the imagination of the author sees them, not as they really are. In the following passages he expresses his theory: 
Car enfin, je trouve qu'il est bien plus aise de se guinder sur de grands sentiments, de braver en vers Ia Fortune, accuser !es Destins, et dire des injures aux Dieux, que d'entrer comme ii faut dans le ridicule des hommes et de rendre agreablement sur le theatre !es defauts de tout le monde.47 (Italics are mine.) 
Lorsque vous peignez des heros, vous faites ce que vous voulez. Ce sont des portraits a plaisir, ou l'on ne ch.erche point de ressemblance; et vous n'avez qu'a suivre !es traits d'une imagination qui se donne l'essor et qui souvent laisse le vrai pour attraper le merveilleux. Mais lorsque vous peignez Jes hommes, il faut peindre d'apres nature.48 (Italics are mine.) 
Notice the resemblance of these passages to the following from Donatus in which he praises Terence for those qualities which Moliere values most: 
tum illud est admirandum, quod et morem retinuit, ut comoediam scriberet, et temperauit affectum, ne in tragoediam transiliret. illud quoque it1ter Terentianas uirtutes mirabile, quod eius fabulae eo sunt temperamento, ut neque extumescant ad tragicam celsitudinem neque abiciantur ad mimicam uilitatem.49 (Italics are mine.) 
4S"Du Poeme drarnatique," Oeuvres, I, 22. 
46fbid., p. 25. 
HOp. cit., Scene VI, p. 351. 
4S0p. cit., Scene VI, pp. 351-352. 
490p. cit., Evanthius, IIl-5. 

Moliere and Terence, A Study in Moliere's Realism 109 
From what I have said, it is evident that until Moliere the trend of criti­cism had been in general to neglect comedy, sometimes to scorn it, to claim for tragedy as much fidelity to life, and to distinguish the two genres on various other bases. Moliere opposes to this tendency a defense of comedy based on the contention that comedy alone imitates life faithfully. It is likely that he is following Donatus in his insistence on the fact that comedy is a mirror of everyday life. 
Besides his criticism of comedy in general, Lysidas offers several objec­tions to l'Ecole des femmes in particular. First, there is no action. 
Car enfin le nom de poeme dramatique vient d'un mot grec qui signifie agir, pour montrer que Ia nature de ce poeme consiste dans !'action; et dans cette comedie-ci ii ne passe point d'actions et tout consiste en des recits que vient faire ou Agnes ou Horace.so 
Lysidas is echoing Aristotle, but he is also expressing the taste of his contemporaries. Neither the practice of Terence nor Donatus's theories would demand that comedy be filled with intrigue.51 Scaliger is the first theorist to define comedy as a dramatic poem filled with intrigue and full of action. 
"Comoedia igitur sic definiamus nos, poema dramaticum, negotiosum, 
exitu laeto, stylo populari."52 
Mr. Searles has traced the increasing popularity of comedy of intrigue 
and has shown how this tendency to emphasize plot influenced the theories 
of Corneille, who lays great stress on "les fourbes et les intrigues." In 
the Examen of le Menteur, he no longer prides himself on "ce stile fami­
lier" but on ingeniousness of plot. Mr. Searles says "From le Menteur to 
Moliere this plot complication is an outstanding feature of comedy."53 
The theory of the period also demands action in comedy. Lysidas's 
words are those of the abbe d'Aubignac: 
"Ce poeme est nomme Drama, c'est adire, Action, et non pas Recit."54 D'Aubignac is speaking of tragedy, but he considers the recit even more out of place in comedy than in tragedy: 
soop. cit., Scene VI, p. 361. 
s1Donatus classifies comedies as follows: "comoediae autem motoriae sunt aut 
statariae aut mixtae. Motoriae tubulentae, statariae quietores, mixtae ex utroque 
actu consistentes" (Evanthius, IV-4). Although his classification of Terence's plays 
under these headings leaves us baffied as to the exact meaning of his terms, we may 
assume, I think, that he recognizes a type of comedy without much action. 
520p. cit., Bk. I, chap. V, p. 11. 
ssop. cit; p. 161. 
540p. cit., p. 282. 
Car la comedie, dont !es Personnages sont tous gens du Commun, agissant avec peu de gravite et peu capahles des beaux sentiments, est beacoup plus clans !es actions, que clans !es discours; ii y faut peu d'eloquence et beau­coup d'intrigues-55 
Again, then, on the question of action, Moliere opposes the tendency of his time_ Dorante defends Moliere on the grounds that all the recits are really action since they are related in all innocence to the person whom the events recounted most concern. 
Lysidas objects also to the character of Arnolphe: 
Arnolphe ne donne-t-il pas trop librement son argent a Horace? Et puisque c'est le personnage ridicule de la piece, falloit-il Jui faire faire !'action d'un honnete homme?56 
Ce monseiur de la Souche, enfin, qu'on nous fait un homme d'esprit, et qui paroit si serieux en tant cl'endroits, ne descend-ii point clans quelque chose de trop comique et de trop outre au cinquieme acte, lorsqu'il explique a Agnes la violence de son amour, avec ces roulements d'yeux extravagants, ces soupirs ridicules et ces larmes niaises qui font rire tout le monde? 5 7 
Implicit in the first of these objections are three ideas of current dramatic theory: the Aristotelian definition of comedy as an imitation of wicked characters, the idea of poetic justice, and the rule of propriety. The idea of poetic justice is not Aristotelian but has crept into the arts poetiques of the seventeenth century. The increasing emphasis on this rule may be traced in Corneille's prefaces. In the epitre dedicatoire of la Suite du Menteur, he indicates that "la recompense des bonnes actions et la punition des mauvaises" is considered an inviolable maxim, although he does not believe in it.58 
In the Discours du poeme dramatique he has apparently been won over to the rule: 
En eflet, ii est certain que nous ne saurions voir un honnete homme sur notre theatre sans lui souhaiter de la prosperite, et nous facher de ses infortunes. Cela fait que quand ii en demeure accable nous sortons avec chagrin et remportons une espece d'indignation contre !'auteur et Jes acteurs.59 
C'est cet interet qu'on aime a prendre pour les vertueux qui a oblige d'en venir a cette autre maniere de finir le poeme dramatique par la punition 
55/bid., p. 285. 
560p. cit., Scene VI, p. 362. 
s1op. cit., Scene VI, p. 363. 
5B0 euvres, IV, 282. 
590euvres, I, 21. 

Moliere and Terence, A Study in Moliere's Realism Ill 
des rnauvaises actions et la recompense des bonnes, qui n'est pas un precepte de l'art mais un usage que nous avons embrasse dont chacun peut se departir a ses perils. 60 
D'Aubignac makes poetic justice the first and most important rule of drama: 
La principale regle du Poeme Dramatique est que les vertus y soient toiijours recompensees ou pour le moins toiijours louees, rnalgre les outrages de la fortune, et que les vices soicnt toiijours punis, ou pour le rnoins, toiijours en horreur.61 
The third rule violated, that of propriety, or fidelity to type, is perhaps the most important. The moeurs of each type were rigidly delimited. Scaliger says: 
"Personarum distinctiones in Comoedia sunt a conditione, a professione, ab offi£io, ab aetate, a sexu."62 In the seventeenth century theorists are more explicit. La Mesnardiere states the rule of propriety thus: 
Pour la propriete des rnoeurs le poete doit -considerer qu'il ne faut jarnais introduire sans necesite absolue, ni une Fille vaillante, ni une Femme Si;avante, ni un valet j udicieux. 63 
Corneille, in the Examen de la Suivante, gives us an idea of how nar­rowly and explicitly the characteristics of each type were dictated by the ruleei: 
On peut douter s'il ne sort point (Geraste) du caractere des vieillards, en ce qu'etant naturellement avares, ils considerent le bien plus que toute autre chose dans !es mariages de leurs enfants, et que celui-ci donne assez libreralement sa fille a Florarne, rnalgre son peu de Fortune. 64 
Dorante defends Moliere's departure from the rule thus: "11 n'est pas incompatible qu'une personne soit ridicule en de certaines choses, et honnete homme en d'autres."65 
He is again invoking the observation of nature to justify Moliere's viola­tion of the rule. In exactly the same way, Donatus defends Terence for violating the same rule: 
60/bid. 
010p. cit., pp. 8--9. 
02op. cit., Bk. I, chap. XIII. 
630p. cit., p. 137. 
640euvres, II, 121. 
650p. cit., Scene VI, p. 365 

The University of Texas Bulletin 
tum personarum leges circa habitum, aetatem, officium, partes agendi nemo diligentius a Terentio custodiuit. quin etiam solus ausus est, cum in fictis argumentis fidem ueritatis assequeretur, etiam contra praescripta comica meretrices interdum non malas introducere •• ,66 
In the commentary on the Eunuchus, moreover, he expresses a conception of character strikingly like Dorante's defense of Arnolphe: 
Et hoc miles ut sapiens locutus est. ergo meminisse conuenit ridiculas per· sonas n(Jll omnino stultas et excordes induci a poetis comicis, nam nulla delectatio est, ubi omnino qui deluditur nihil sapit.67 
Lysidas's second objection to the character is based on the rule of con· sistency, or egalite. Arnolphe, a serious, intelligent, middle-aged man, betrays a ridiculous violence in his love scene with Agnes. Donatus emphasizes this rule of consistency. In Steinmann's compilation of the scholia on Terence under the headings of "De mutatione morum" and "De constantia morum," it is evident that Donatus is trying to explain away all apparent changes of character. But the rule, according to Donatus, does not apply to character under stress of great emotion. Steinmann generalizes thus: "Non autem lex de morum constantia data ad personas affectibus motas pertinet."68 
He quotes several comments like the following: "non hoc personae attribuendum est, sed affectui."69 Dorante replies to Lysidas thus: 
Et quand au transport amoureux du cinqmeme acte, qu'on accuse d'etre trop outre et trop comique, je voudrais bien savoir, si ce n'est pas faire la satire des amants, et si les honnetes gens memes, et les plus serieux, en de pareilles occasions ne font pas des choses ...10 
Again in the commentary on the Eunuchus Donatus similarly defends Terence: "non solent stulti induci adulescentes et ideo ad amorem transtu­lit stultitiam Phaedriae. " 71 
Another point which has little bearing upon Moliere's theory of comedy, but which may indicate his familiarity with Donatus, is his use of the same terms as Donatus for the parts of comedy. Lysidas protests that the play 
660p. cit., Evanthius, 111-4. 670p. cit., Eunuchus, 446, 2. 68Hermann Steinmann, De artis poeticae veteris parte quae est 7r(PL 1/(WV ( Giittingen,
1907)' p. 63. 69Donatus, op. cit., Eunuchus, 320. 1oop. cit., Scene VI, p. 366. nop. cit., Eunuchus, 226, 2. 
Moliere and Terence, A Study in Moliere's Realism 113 
does not conform to the three divisions of comedy, the "protase," the "epitase," and the "peripetie." 
Obviously, Moliere puts these terms into Lysidas's mouth to take a thrust at the critics and the theorists. There is no reason to suppose that either Moliere or his contemporaries actually used these terms for the parts of comedy. He would be likely to choose rare and erudite Greek terms in order to ridicule the pedantry of the dramatic critics. The signifi­cant fact is his use of Donatus's terms. When Corneille employed the same device to ridicule the theorists, he used Aristotelian terms and one term from Scaliger, a name coined by Scaliger for a division of comedy apparently original with him and not adopted by his followers. The passage from Corneille is a variant of the Suite du Menteur. Dorante and Cliton are discussing the possibility of presenting a play based on their adventures: 
Clit: Mais peut·on l'ajuster dans !es vingt et quatre heures? 
Dor: Qu'importe? 
Clit: A mon a vis, ce sont bien !es meilleures; 

Car, graces au hon Dieu, nous nous y connaissons; 
Les poetes au parterre en font tant de lec;ons 
Et la cette science est si bien eclaircie, 
Que nous savons que c'est que de peripetie, 
Catastase, episode, unite, denoiiruent, 
Et quand nous en parlons, nous parlons congriiment, 
Done, en termes de !'art. je crains que votre histoire 
Soit peu juste au theatre, et la preuve est notoire: 
Si le suiet est rare, ii est irregulier; 
Car vous etes le seul qu'on y voit marier.12 

Catastase is the term taken from Scaliger. Episode is an Aristotelian term used later by Corneille in Du poeme dramatique. Moliere certainly ridiculed the theorists in the same way when he made Lysidas say: 
"Quoi, monsieur, la protase, l'epitase, la peripetie."73 It is significant that, while following Corneille's procede, Moliere turns to Donatus for the terms protase and epitase. Donatus divides the plot of comedy into three parts as follows: 
"comoedia per quattuor partes diuiditur: (four parts including the prologue) prologum, protasin, epitasin, catastrophen."74 
120euvres, IV. 388. 
1aOp. cit., Scene VI, 360. 
140p. cit., Evanthius, IV-5. 

These terms are defined in the De Fabula and again in the Excerpta de comoedia. De Fabula gives the following definitions: 
protasis primus act us initiumque est dramatis; epitasis increment um pro­cessusque turbarum ac totius, ut ita dixerim, nodus erroris; catastrophe conuersio rerum ad iucundos exitus patefacta cunctis cognitione gestorum. 75 
De comoedia defiines the terms thus: 
7rpoTaat<; est primus actus fabulae, quo pars argumenti explicatur, pars reticetur ad populi exspectationem tenedam; '£7rtTaat<; involutio argumenti, cuius elegantia conectitur; KaTaaTpocf>YJ explicatio fabulae, per quam eventus eius approbatur. 76 
Peletier follows Donatus: 
La Comedie a troes parties principales, sans le Prologue. La premiere et la proposicion du fet, au premier Acte; laquelle et appelee des Grez Protasie. La seconde et l'avancement OU progres, que Jes Grez disent Epitasie. Cet quand les aferes tombent an dificulte, e autre peur e esperance. La tierce, et la Catastrofe, soudeine conversion des choses au mieux.77 
Scaliger uses the same terms but adds one division: 
Comoediae igitur partes, aliae primariae, aliae accessoriae, aliae attinentes. Verae et primariae sunt quattuor, protasis, epitasis, catastasis, catastrophe.78 
Scaliger defines these terms as follows: 
Protasis est, in qua proponitur et narratur summa rei sine declaratione exitus, ita enim argutior est, animum semper auditoris suspensum habens ad expectationem. 
Epitasis, in qua turbae aut excitantur, aut intenduntur .. Catastasis, est vigor, ac status fabulae, in que res miscetur in ea fortunae tempestate, in quam subducta est. Catastrophe, conversio negotii exagitati in tranquilitatem non expectatam.79 
After Scaliger the tripartite division is followed but the Greek terms disappear. Vauquelin divides the plot of comedy into three parts besides the prologue, but he gives no names to these parts: 
15/bid. 
7sVI1, 4. 
110p. cit, p. 70. 
1sop. cit., Bk. I, chap. IX, p. 15. 
79I bid., loc., cit. 

Premier la Comedie aura son beau Proeme, 
Et puis trois autres parts qui suivront tout de mesme 
La premiere sera comme un court argument: 
Qui raconte a demi le sujet brevement, 
Retient le reste a dire, afin que suspendue 
Soit l'ame de chacun par la chose attendue. 
La seconde sera comme un env'lopement, 
Un trouble-feste, un brouil de l'entier argument: 
De sorte qu'on ne so;ait quelle en sera !'issue, 
Qui tout autre sera qu'on ne l'avait conceue. 
La derniere se fait comme un Renversement, 
Qui le tout debrouillant fera voir clairement 
Que chacun est content par une fin heureuse.so 

Vauquelin is following Scaliger, but he discards the Greek terms and he drops the division added by Scaliger. The Greek names reappear in Mairet's preface to his Silvanire. It is obvious that Donatus was the im­mediate source of Mairet's differentiation of comedy and tragedy and of his definition of the parts of comedy. He defines the three parts of comedy thus: 
Prothese est le premier acte de la fable, dans lequel une partie de !'argu­
ment s'explique, et l'autre ne se dit pas, afin de retenir !'attention des 
auditeurs. 
Epithase est la partie de la fable la plus turbulente, ou !'on voit paroistre 
toutes ces difficultez et ces intrigues qui se desmeslent aIa fin, et qui propre­
ment se peut appeller le noeud de la piece. 
Catastrophe est celle qui change toute chose en joye, et qui donne l'esclair­
cissement de tous les accidents qui sont arrivez sur la Scene.Bl 
Donatus's terms were probably not in current use, however, when Moliere wrote the Critique. Neither la Mesnardiere nor d'Aubignac uses them. Corneille follows Aristotle in Du Poeme dramatique. For protase he substitutes prologue, which he applies to an integral part of the plot. Episode replaces epitasis, and exode, catastrophe. 
"Ainsi pour les appliquer (i.e., Aristotle's terms) anotre usage, le pro­logue est notre premier acte, !'episode fait les trois suivants, l'exode, le dernier."B2 The two latter terms correspond to Aristotle's complication and unraveling. 
BOOp. cit., p. 132. 
B1Qp. cit., p.15. 
B20euvres, I, 41. 
In his prefaces, however, Corneille twice uses the term protase in the sense of exposition, once in discussing a comedy, la Suivante,83 and once in discussing a tragedy, Horace.84 He never uses epitasis, but always noeud as does D'Aubignac. Dorante's reply to Lysidas, indeed, would indicate that exposition, noeud, and denouement were the current terms: 
Dorante: Ah! monsieur Lysidas, vous nous assommez avec vos grands mots. Ne paroissez point si savant, de grace! Humanisez votre discours, et parlez pour etre entendu. Pensez-vous qu'un nom grec donne plus de poids a vos raisons? Et ne trouveriez-vous pas qu'il fut aussi beau de dire, !'exposition du sujet, que la protase; le noeud, que l'epitase; et le denoiiment que la peripetie?85 
I can find no evidence that the terms protase and epitase were in current use. Peripetie, the third term, is from Aristotle. It is used frequently but not as synonymous with catastrophe or denouement. For La Mesnardiere, for instance, peripetie is one of the parts of tragedy, but he does not use the word partie in the sense of a division of the plot. The other parts are la Reconnaisance and le Trouble. He does say, however, that there must be only one peripetie in the plot of a tragedy, and his definition of the word might well be substituted for Scaliger's definition of catastrophe. Here is La Mesnardiere's definition: 
Par le mot de Peripetie, le Philosophe a voulu dire Un Evenement imprevu, qui dement !es aparences, et par une Revolution qui n'etait point attendue, vient changer la face des choses.86 
Compare with this definition Scaliger's definition of the catastrophe: "conversio negotii exagitati in tranquilitatem non expectatam."87 
In both the sudden and unexpected change of the face of affairs is emphasized. The peripetie, however, is one event. The catastrophe may be a series of events. For comedy, nevertheless, especially for Moliere, the denouement follows in summary fashion, a sudden and unexpected event. D'Aubignac calls the catastrophe "la derniere Peripetie."88 I think, how­ever, that no particular significance can be attached to Moliere's use of the term peripetie. Lysidas uses these Greek terms and is promptly 
83/bid., II, 120. 
84/bid., III, 278. 
850p. cit., Scene VI, p. 361. 
860p. cit., p. 55. 
810p. cit., Bk. I, chap. IX, p. 15. 
880 p. cit., p. 136. 

Moliere could have found peripetie used as a synonym for demeslement, or denoue­ment, in Cyrano de Bergerac's Pedant joue, Act V, Sc. V, p. 399. 
ridiculed by Dorante for doing so. Moliere simply cast about for three pedantic terms and hit upon two used by Donatus. Catastrophe was per­haps too common a term.89 He therefore chose peripetie. The use of protase and epitase, however, indicates a familiarity with Donatus. Epitase was not in current use. It occurs in Donatus only in the treatise on comedy, never in the commentaries. 
If Moliere apparently breaks so positively with contemporary theory, we are not justified in supposing that he had no doctrine other than to follow his own devices and to strive to please the public. He maintains that l'Ecole des femmes violates no rules. It certainly violates the rules of his contemporaries. What authority does he invoke? His use of protase and epitase would point strongly to his familiarity with Donatus. His insistence on fidelity to every-day life as the distinguishing mark of comedy while his contemporaries were maintaining that tragedy, the epic, and comedy all imitated nature--a conventionalized and idealized "nature" -is reminiscent of Donatus's reiterations of the imago vitae, speculum consuetudinis idea, as the ~sential character of comedy. Furthermore, a similarity of phrase in Moliere's distinction between comedy and tragedy and that of Donatus makes it almost certain that he was following Donatus. In his discussion of the character of Arnolphe, he defends his violation of the rule of propriety and that of consistency in almost the same words used by Donatus in defending similar violations on the part of Terence. It is probable, then, that Moliere's conception of comedy as a realistic 
genre and of comic character derives from the practice of Terence as analyzed and propounded by Donatus. 
89Catastrophe is the only one of the Greek terms of Donatus used in the comedies written in answer to the Critique. Catastrophe is used in Zelinde ou la veritable critique de l'Ecole des femmes (Moliere, Oeuvres, ed. Moland, V, 13). Both catastro­phe and denouement are used in the Portrait du Peintre (Ibid., pp. 53, 69). Catastrophe occurs in the Panegyrique (Ibid., p. 104). 




CONCLUSION 
In this study I have tried to delimit anew and to re-evaluate the influence of Terence on Moliere as shown in two plays in which some Terentian influence had already been admitted and in a third, in which heretofore none had been pointed out. Starting with the statement of the preface of 1682 that Moliere chose Terence as the most excellent model whom he could imitate and the conclusions of later critics, in direct opposition to this statement, I have tried to determine, by a minute analysis of the plays, whether the balance tips in favor of the statement in the preface of 1682 or of the conclusions of later critics. In les Fourberies de Scapin I have shown that Terence contributed more in the matter of details than he is ordinarily given credit for; but the superiority of Moliere's play in technique, his change of the tone of Terence's play, and the very fact that les Fourberies is a fantastic farce would preclude attaching any par­ticular significance to the Terentian influence in this play. The influence of Terence in l' Ecole des maris is more important and far-reaching. In addition to many imitations of detail, Moliere has taken from Terence the thesis of his first thesis play. His first raisonneur, who preaches a worldly philosophy of tolerance, acceptance, and measure, is modeled in every respect on Terence's Micio. Demea, moreover, is the prototype of a typical Molieresque character, "un passione aveugle al'egard de ses extravagances." Demea's inability to be converted from a persistent bias of mind is imitated in Sganarelle and may have suggested a similar blindness and narrowness in Arnolphe, for instance, of l'Ecole des femmes, in Harpagon of l'Avare, and even in the more admirable and sympathetic Alceste of le Misanthrope. L'Ecole des maris, then, suggests a kinship with Terence in Moliere's attitude towards life and in his conception of character. The conclusion that his conception of character is similar to that of Terence is strengthened by the analogy between Moliere's theory of comedy and that of Donatus, based on the practice of Terence. There is in Donatus a hierarchy, so to speak, of the rules similar to that revealed in Moliere's Critique de l' Ecole des femmes. The first and most important rule, aside from that of pleasing the public, is that the comic poet depict life as he sees it rather than strive to imitate an idealized and conventionalized "nature." This rule of con­formity to everyday life takes precedence over the rules of character type and of consistency. Donatus invokes fidelity to life to excuse Terence for a striking violation of the rule of conformity to type. Similarly Moliere defends a like violation in his depiction of Arnolphe. To Terence, as interpreted by Donatus, it was not incompatible that a character should be foolish or base in some respects and admirable and wise in others. Moliere expresses the same idea in his defense of the character of Arnolphe, who is an honnete homme, generous and loyal to his friends; but, for all that, unjust and blind to his error in his treatment of Agnes, and ridiculous in his fear of being betrayed by his wife. Because he pushes his mania 
to ridiculous extremes, he is punished by the collapse of all his schemes, and his admirable qualities cannot save him from being a ludicrous character. This idea of the honnete homme as a comic character profound­ly modified Moliere's conception of character comedy and came to full fruition in le Misanthrope. Both Terence and Moliere had a higher regard for the rule of consistency than for the unvarying pattern of the different types of character to which the theorists wished the dramatist to conform. But even the rule of consistency yields to the rule of conformity to life, since apparent inconsistency is tolerated in moments of great emotion. 
If my examination of les Fourberies de Scapin in relation to its Terentian 
source rehabilitated only to a slight extent and in no significant respect 
the Terentian influence, the results of my analysis of l' Ecole des maris and 
la Critique de l'Ecole des femmes lead to the conclusion that the author 
of the preface of 1682 was more nearly accurate than later critics have been 
in their estimate of Terentian influence in Moliere. 
APPENDIX 
Dorimond's la Femme industrieuse as a Source of l' Ecole des maris 
It is generally believed that the source of the intrigue of Act II of l'Ecole des maris is Dorimond's la Femme industrieuse, a one-act play based on the third nouvelle of the third day of the Decameron. La Femme industrieuse was published at Paris in 1661. The story is as follows: 
A capitan, fearing betrayal by his wife, Isabelle, guards his honor during his absence by setting a clownish valet, Tripolin, to watch over his wife. Isabelle has fallen in love with Leandre, a young man who has never seen her. In order to elude her guardian and make known her love to Uandre, she sends for Leandre's tutor to whom she complains that Leandre passes her house daily and ogles her in an offensive manner. She begs the pedant to tell his pupil to stop passing under her window. She further­more tells him that Leandre has by flattery insinuated himself into the good graces of the valet whom her husband has left to guard her. The tutor, completely hood-winked and delighted and astonished at finding a virtuous woman, reproves Leandre, repeating to him Isabelle's accusa­tions. Leandre, though he has never seen Isabelle, understands her ruse. He flatters Tripolin according to her suggestion and addresses a compli­ment to her which Tripolin thinks is addressed to him. Isabelle then reports to the pedant that Leandre has found a crack in her door through which he has slipped a love-note and has left for her a purse containing a hundred louis. She asks the tutor to return the purse to Leandre. Leandre again takes the hint and slips a note through Isabelle's door. Isabelle reports to the pedant that Leandre, knowing that her husband is away, has climbed the wall of her garden and attempted to enter her room. Uandre, following her directions, goes to her house, climbs the wall and enters her room. He is surprised by her husband but escapes punish­ment by pretending that he is a ghost guarding Isabelle during the capitan' s absence. 
This crude farce is completely transformed in the second act of l'Ecole des maris. Moliere's play is at once more convincing, more amusing, and more moral. To Dorimond Moliere is indebted for the ruses by which his Isabelle communicates with Valere. Like Dorimond's Isabelle she 
Moliere and Terence, A Study in Moliere's Realism 121 
accuses Valere of having cast amorous glances at her. In la Femme industrieuse, the accusation is groundless. In l' Ecole des maris, Moliere introduces Valere in Act I and we are informed that he has been in love with Isabelle for months and has indeed tried to convey his admiration to her by his amorous glances. For the purse which Dorimond's Isabelle pretends that Leandre has sent her Moliere substitutes the box which Isabelle accuses Valere of having thrown into her window and which Sganarelle returns to Valere with a note from Isabelle enclosed. The suggestion that Leandre climb the wall and enter Isabelle's room is replaced by the suggested elopement in l'Ecole des maris. For the incred­ible scene in which Leandre reads his declaration of love to Tripolin for Isabelle's benefit, Moliere substitutes the scene in which Sganarelle brings Isabelle and Valere together and in which the lovers come to an under­standing by an exchange of declarations adouble entente, in the presence of Sganarelle. This scene was probably suggested by the similar scene in la Femme industrieuse, although Moliere may have borrowed some of the 
details of his scene from Lope de Vega's La discreta enamorada.1 Moliere has made his comedy more piquant by making the jealous fiance himself the go-between. Moliere's characters owe little to Dorimond's. As I have already pointed out in Chapter II, Isabelle is far from being the depraved and unscrupulous rusee that Dorimond's heroine is. Her duplicity is justified. Sganarelle, like the pedant, is gullible but so is Demea of the Adelphoe. For the tutor's delight and astonishment at Isabelle's professed virtue, Moliere has substituted Sganarelle's delight at the apparent success of his precepts; and, in this point, Moliere is following Terence. The capitan, like Sganarelle, is greatly concerned with guarding his honor. Here, then, is another possible source of Sganarelle's fear of being a cuckold, a fact which is additional proof that Sganarelle's obsession does not necessarily point to Sancho as the model for Sganarelle. 
isee Martinenche, Moliere et le theatre espagnol, p. 97. 
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