Andria (comedy)

Andria (English: The Girl from Andros) is a Roman comedy adapted by Terence from a Greek play by Menander. It was the first play by Terence to be presented publicly, and was performed in 166 BC during the Ludi Megalenses. It became the first of Terence's plays to be performed post-antiquity, in Florence in 1476. It was adapted by Machiavelli, whose Andria was likewise the author's first venture into playwriting, and was first translated into English by the Welsh writer Morris Kyffin in 1588.

Brief overview. Pamphilus has promised to marry Glycerium (the eponymous but unseen girl from Andros). His father had arranged for him to marry Philumena. However, following Pamphilus' behaviour at Chrysis' funeral, Chremes withdraws his permission for the union.

Wishing to publicly shame his son for his dalliance with a woman of low birth, Simo pretends that not only will the match still go ahead but that it is scheduled for that same day. Pamphilus, on the advice of Davus, who has learnt of Simo's scheme, accepts the proposal willingly in order to wrong-foot his father. Simo however then persuades Chremes to again accede to giving his daughter away. This leaves Pamphilus in an awkward position as he has promised Chrysis on her death bed to protect Glycerium, Glycerium is pregnant with their son and finally his friend Charinus is in love with Philumena. Davus faces the three-way wrath of Pamphilus (for his advice), Charinus (for causing the loss of his beloved) and Simo (for double-dealing between him and his son).

The situation is saved by the fortuitous arrival of a stranger from Andros. He tells the protagonists that Glycerium was not Chrysis' natural sister. She had been left in her family's care when her uncle Phania, while searching for his lost brother, was shipwrecked on Andros and died. Chremes reveals that Phania was his brother and therefore he is Glycerium's true father. He gives Glycerium's hand in marriage to Pamphilus which leaves Philumena free to marry Charinus and absolves Davus from fault.

Terence's attitude towards prologues in general is amply displayed in this his first play. In essence it is an anti-prologue, railing against the concept and the conceits usually contained within the dramatic device.

...
Wikipedia