The plot is as follows:—Pamphila, the daughter of an Athenian citizen, was kidnapped in her infancy, and sold to a Rhodian. He gave her to a courtesan, who educated her with her own daughter Thais. Subsequently Thais removes to Athens; and on the mother’s death Pamphila is sold to a soldier, named Thraso. The soldier, being in love with Thais, resolves to make her a present of his purchase; but Thais has got another lover, Phædria, and Thraso refuses to give Pamphila to Thais unless Phædria is first turned off. She, thinking that she has discovered Pamphila’s relations, and anxious to restore her to them, persuades Phædria to absent himself for two days, in order that Thraso may present her with the maiden. Meanwhile Chærea, Phædria’s younger brother, sees Pamphila accidentally, and falls desperately in love with her. He, therefore, persuades his brother’s slave, Parmeno, to introduce him into Thais’ house in the disguise of a eunuch, whom Phædria has intrusted him to convey to her during his absence. This leads to an _éclaircissement_. Pamphila is discovered to be an Athenian citizen, and her brother Chremes gives her in marriage to Chærea. The most skilful part of this play is the method by which Terence has connected the underplot between Parmeno and Pythias, the waiting-maid of Thais, with the main action, their quarrels being entirely instrumental in bringing about the _dénouement_. Of all the comedies of Terence, the moral tone of this is the lowest and most degrading. The connivance of Laches the father of Chærea, at his son’s illicit amour with Thais, presents a sad picture of moral corruption, as the arrangement coolly made between Phædria and Gnatho[217] displays the meanness, which evidently was not considered inconsistent with the habits of Roman society. Grievous as are these blemishes, this comedy must always be a favourite. There are in it passages of which the lapse of ages has not diminished the pungency: take, for example, the quiet satire contained in the contrast which Chærea draws between the healthful and natural beauty of his mistress and the “every-day forms of which his eyes are weary:”— CH. Haud similis virgo est virginum nostrarum; quas matres student Demissis humeris esse, vincto pectore, ut graciles sient; Si qua est habitior paulo, pugilem esse aiunt; deducunt cibum, Tametsi bona est natura, reddunt curatura junceas: Itaque ergo amantur. PA. Quid tua istæc. CH. Nova figura oris. PA. Papæ! CH. Color verus, corpus solidum et succi plenum.[218] “The Eunuch” suggested the plot of Sir Charles Sedley’s “Bellamira,” was translated by Lafontaine, and imitated in “Le Muet” of Brueys. “_Heautontimorumenos._”