[122] Among the Blenheim papers is a fragment, in Steele's writing, of a dialogue between two servants, Parmeno and Pythias--names taken, no doubt, from Terence's _Eunuchus_. The pair discuss the charm of the soft moments of servants in love, free from their usual restraints. Why should any man usurp more than his share of the atmosphere? The whole art of a serving-man is "to be here and there, and everywhere, unheard and unseen till you are wanted, and never absent when you are. This gives our masters and mistresses the free room and scope to do and act as they please--they are to make all the bustle, all the show--we are like convenient demons or apparitions about 'em, never to take up space or fill the air nor be heard of or seen but when commanded." Pythias remarks how much she learns from Parmeno's conversation, and produces a little collation from the last night's supper which she has prepared for him. Parmeno eats the eggs, gorges, sings a song, and says kind things between whiles to Pythias. [123] Leer, throw glances. [124] See page 307. [125] In the Vision of Mirza (_Spectator_, No. 159), Addison pictured the Happy Islands which were the abode of good men after death. "Does life appear miserable, that gives thee opportunities of earning such a reward?" [126] In Terence, Glycerium comes to Athens with Chrysis, a courtezan, her supposed sister, and Pamphilus makes her acquaintance at Chrysis's house. [127] This character has no prototype in Terence's _Andria_. [128] These two operas, by G. B. Bononcini, were produced in 1722, with words by Rolli. In _Griselda_, Anastasia Robinson took the part of the heroine, and it is said that she thus completed her conquest of the Earl of Peterborough, who married her many years later. [129] See page 270. [130] There is nothing in Terence's _Andria_ to correspond to the incidents in this act; and throughout the remainder of the play there is no resemblance except the general idea of the story.