The Step-Mother: Prologue

Terence · 1765

iambic pentameter · 69 lines · from The Comedies of Terence

This play is call'd the STEP-MOTHER. When firstIt was presented, such a hurricane,A tumult so uncommon interven'd,It neither could be seen nor understood:So taken were the people, so engag'dBy a rope-dancer!--It is now brought onAs a new piece: and he who wrote the playSuffer'd it not to be repeated then,That he might profit by a second sale.Others, his plays, you have already known;Now then, let me beseech you, know this too.

I come a pleader, in the shape of prologue:Let me then gain my cause, and now grown old.Experience the same favor as when young;Who then recover'd many a lost play,Breath'd a new life into the scenes, and sav'dThe author and his writings from oblivion.Of those which first I studied of Caecilius,In some I was excluded; and in someHardly maintain'd my ground. But knowing wellThe variable fortunes of the scene,I was content to hazard certain toilFor an uncertain gain. I undertookTo rescue those same plays from condemnation,And labor'd to reverse your sentence on them;That the same Poet might afford me more,And no ill fortune damp young Genius in him.My cares prevail'd; the plays were heard; and thusDid I restore an Author, nearly lostThrough the malevolence of adversaries,To study, labor, and the Poet's art.But had I at that time despis'd his plays,Or labor'd to deter him from the task,It had been easy to have kept him idle,And to have scar'd him from attempting more:For my sake, therefore, deign to hear with candorThe suit I mean to offer to you now.

Once more I bring the STEP-MOTHER before you,Which yet in silence I might never play;So did confusion crush it: which confusionYour prudence may allay, if it will deignTo second our endeavors.--When I firstBegan to play this piece, the sturdy Boxers,(The dancers on the rope expected too,)Th' increasing crowds, the noise and women's clamor,Oblig'd me to retire before my time.I, upon this occasion, had recourseTo my old way. I brought it on again.In the first act I please: meanwhile there spreadsA rumor of the Gladiators: thenThe people flock together, riot, roar,And fight for places. I meanwhile my placeCould not maintain--To-day there's no disturbance;All's silence and attention; a clear stage:'Tis yours to give these games their proper grace.Let not, oh let not the Dramatic ArtFall to a few! let your authorityAssist and second mine! if I for gainNe'er overrated my abilities,If I have made it still my only careTo be obedient to your will, oh grantThat he who hath committed his performanceTo my defense, and who hath thrown himselfOn your protection, be not giv'n to scorn,And foul derision of his envious foes!

Admit this plea for my sake, and be silent;That other Poets may not fear to write,That I too may hereafter find it meetTo play new pieces bought at my expense.

Words in this poem

wrote v. i.
To root with the snout. See 1st Root. [OE. wroten. See 1st Root.]
pleader n.
One who pleads; one who argues for or against; an advotate. [F. plaideur.]
oblivion n.
The act of forgetting, or the state of being forgotten; cessation of remembrance; forgetfulness. [L. oblivio, akin to oblivisci to forget: cf. OF. oblivion.]
deign v. t.
To esteem worthy; to consider worth notice; -- opposed to disdain. [OE. deinen, deignen, OF. degner, deigner, daigner, F. daigner, fr. L. dignari to deem worthy, deign, fr. dignus worthy; akin to decere to be fitting. See Decent]
candor n.
Whiteness; brightness; (as applied to moral conditions) usullied purity; innocence. [L. candor, fr. candëre; cf. F. candeur. See candid.]
recourse n.
A coursing back, or coursing again, along the line of a previous coursing; renewed course; return; retreat; recurence. [F. recours, L. recursus a running back, return, fr. recurrere, recursum, to run back. See Recur.]
meanwhile n.
The intervening time; as, in the meantime (or mean time).
envious a.
Malignant; mischievous; spiteful. [OF. envios, F. envieux, fr. L. invidiosus, fr. invidia envy. See Envy, and cf. Invidious.]
hereafter adv.
In time to come; in some future time or state. [AS. hræfter.]

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

The Step-Mother: Prologue is in the public domain. This text is taken from The Comedies of Terence, Project Gutenberg ebook #22695; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: Terence, The Step-Mother: Prologue, in The Comedies of Terence (1765), text of Project Gutenberg ebook #22695, Laurel, https://laurelpoetry.com/poem/terence-comedies/the-step-mother-prologue.html, id L25856.

Form and metre

The Step-Mother: Prologue is 69 lines in 4 stanzas. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 88%).

See other poems in iambic pentameter.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 2 -----A-B-A--ABC---D-D--C-- prologue · old · young · play · sav'd · oblivionA · caecilius · someB · well · sceneA · toil · undertook · condemnationA · themB · moreC · him · thus · lost · adversariesD · art · playsD · task · idle · moreC · candor · now
  2. 3 A-BB--A---B-B-C--C--B------- youA · play · confusionB · deignB · first · boxers · tooA · clamor · time · recourse · againB · spreads · thenB · roar · placeC · disturbance · stage · graceC · art · authority · gainB · abilities · care · grant · performance · himself · scorn · foes
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic pentameter. How this is done.

LineSyl.Stress
This play is call'd the STEP-MOTHER. When first10······/˘··
It was presented, such a hurricane,10··˘/˘··/˘·
A tumult so uncommon interven'd,10·/˘·˘/˘·˘/
It neither could be seen nor understood:10·/˘·····˘/
So taken were the people, so engag'd10·/˘··/˘·˘/
By a rope-dancer!--It is now brought on10···/˘·····
As a new piece: and he who wrote the play10··········
Suffer'd it not to be repeated then,10/˘····˘/˘·
That he might profit by a second sale.10···/˘··/˘·
Others, his plays, you have already known;10/˘····˘/˘·
Now then, let me beseech you, know this too.10····˘/····
I come a pleader, in the shape of prologue:11···/˘····/˘
Let me then gain my cause, and now grown old.10··········
Experience the same favor as when young;10˘/˘··/˘···
Who then recover'd many a lost play,10··˘/˘/˘···
Breath'd a new life into the scenes, and sav'd10··········
The author and his writings from oblivion.11·/˘··/˘·˘/˘
Of those which first I studied of Caecilius,11·····/˘····
In some I was excluded; and in some10····˘/˘···
Hardly maintain'd my ground. But knowing well10/˘˘/···/˘·
The variable fortunes of the scene,10·/˘˘˘/˘···
I was content to hazard certain toil10··˘/·/˘/˘·
For an uncertain gain. I undertook10··˘/˘···˘/
To rescue those same plays from condemnation,11·/˘·····˘/˘
And labor'd to reverse your sentence on them;11·/˘·˘/·/˘··
That the same Poet might afford me more,10···/˘·˘/··
And no ill fortune damp young Genius in him.11···/˘··/˘··
My cares prevail'd; the plays were heard; and thus10··˘/······
Did I restore an Author, nearly lost10··˘/·/˘/˘·
Through the malevolence of adversaries,11··˘/˘˘·/˘·˘
To study, labor, and the Poet's art.10·/˘/˘··/˘·
But had I at that time despis'd his plays,10······˘/··
Or labor'd to deter him from the task,10·/˘·˘/····
It had been easy to have kept him idle,11···/˘····/˘
And to have scar'd him from attempting more:10······˘/˘·
For my sake, therefore, deign to hear with candor11·········/˘
The suit I mean to offer to you now.10·····/˘···
Once more I bring the STEP-MOTHER before you,11······/˘···
Which yet in silence I might never play;10···/˘··/˘·
So did confusion crush it: which confusion11··˘/˘···˘/˘
Your prudence may allay, if it will deign10·/˘·˘/····
To second our endeavors.--When I first10·/˘/˘/˘···
Began to play this piece, the sturdy Boxers,11˘/·····/˘/˘
(The dancers on the rope expected too,)10·/˘···˘/˘·
Th' increasing crowds, the noise and women's clamor,11˘/˘····/˘/˘
Oblig'd me to retire before my time.10˘/··˘/····
I, upon this occasion, had recourse10····˘/˘·/˘
To my old way. I brought it on again.10········˘/
In the first act I please: meanwhile there spreads10······/···
A rumor of the Gladiators: then10·/˘··/˘·˘·
The people flock together, riot, roar,10·/˘·˘/˘/˘·
And fight for places. I meanwhile my place10···/˘·/···
Could not maintain--To-day there's no disturbance;11··˘/····˘/˘
All's silence and attention; a clear stage:10·/˘·˘/˘···
'Tis yours to give these games their proper grace.10·······/˘·
Let not, oh let not the Dramatic Art10······˘/˘·
Fall to a few! let your authority10······˘/˘˘
Assist and second mine! if I for gain10˘/·/˘·····
Ne'er overrated my abilities,10··˘/˘·˘/˘˘
If I have made it still my only care10·······/˘·
To be obedient to your will, oh grant10··˘/˘·····
That he who hath committed his performance11····˘/˘·˘/˘
To my defense, and who hath thrown himself10··˘/····˘/
On your protection, be not giv'n to scorn,10··˘/˘·····
And foul derision of his envious foes!10··˘/˘··/˘·
Admit this plea for my sake, and be silent;11˘/·······/˘
That other Poets may not fear to write,10·/˘/˘·····
That I too may hereafter find it meet10····˘/˘···
To play new pieces bought at my expense.10···/˘···˘/

The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.

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