Characters Discussed

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Last Updated on May 7, 2015, by eNotes Editorial. Word Count: 527

Simo

Simo (SIH -moh), an aged Athenian. An outspoken, philosophical man, Simo has arranged a marriage between his son Pamphilus and Philumena, the daughter of his friend Chremes. Chremes breaks the engagement when it is discovered that Pamphilus is enamored of Glycerium, the sister of a courtesan. To test...

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Simo

Simo (SIH-moh), an aged Athenian. An outspoken, philosophical man, Simo has arranged a marriage between his son Pamphilus and Philumena, the daughter of his friend Chremes. Chremes breaks the engagement when it is discovered that Pamphilus is enamored of Glycerium, the sister of a courtesan. To test his son’s fidelity, Simo goes ahead with preparations for the wedding. Advised of this ruse, Pamphilus pretends to agree to the marriage, but to his distress, Chremes renews the offer of his daughter’s hand. Chremes then discovers that Glycerium has borne Pamphilus’ son and again breaks the engagement. Simo is berating his son for disgracing the family name when Crito, an Andrian, reveals that Glycerium is the long-lost daughter of Chremes. Overjoyed, Simo and Chremes order the marriage of Pamphilus and Glycerium to proceed.

Pamphilus

Pamphilus (PAM-fih-luhs), Simo’s agreeable and moderate young son. He has fallen in love with Glycerium, made her pregnant, and promised to marry her. Simo’s abrupt order that he marry Chremes’ daughter leaves Pamphilus facing a dilemma: He must either disobey his father or betray his beloved Glycerium.

Davus

Davus (DAH-vuhs), Simo’s servant. Deciding that his love for Pamphilus is stronger than his fear of Simo, Davus, in spite of Simo’s warnings, tries to disrupt the marriage plans. When Pamphilus, acting on Davus’ advice, finds himself in a dilemma, Davus cleverly contrives to inform Chremes that Glycerium has borne Pamphilus’ child. Simo has Davus imprisoned for his effrontery, but he is freed when all turns out well.

Sosia

Sosia (SOH-see-uh), a former slave whom Simo had freed in appreciation of Sosia’s faithfulness. Simo reveals to Sosia his plan to test his son’s character.

Glycerium

Glycerium (glih-SEE-ree-uhm), Chremes’ daughter, originally named Pasibula. Shipwrecked with her uncle in Andros, Glycerium had grown up there as the daughter of an Andrian family.

Chremes

Chremes (KRAY-meez), a wealthy Athenian and Simo’s friend. He is the father of both Glycerium and Philumena.

Chrysis

Chrysis (KREE-sihs), a beautiful young Andrian who had become a courtesan after her arrival in Athens. Glycerium, reared as Chrysis’ sister, had come to Athens with her. On her deathbed, Chrysis had made Pamphilus swear to marry Glycerium.

Charinus

Charinus (ka-RI-nuhs), a young Athenian in love with Philumena. Pamphilus promises he will try to win Philumena for Charinus.

Crito

Crito (KRI-toh), a native of Andros who comes to Athens to attend to the estate of his dead cousin, Chrysis. After a sharp exchange with Simo, who thinks Crito is a confidence man, Crito convinces Simo and Chremes that Glycerium is really Chremes’ daughter.

Byrrhia

Byrrhia (BIH-ree-uh), Charinus’ servant. Overhearing Pamphilus agree to marry Philumena, Byrrhia thinks his master is being betrayed.

Philumena

Philumena (fih-luh-MEE-nuh), Chremes’ daughter.

Mysis

Mysis (MEE-sihs), Glycerium’s maidservant. Davus stages an argument with Mysis to reveal to Chremes that Glycerium has borne Pamphilus’ child.

Lesbia

Lesbia (LEHS-bee-uh), the tippling midwife who is called to attend Glycerium.

Dromo

Dromo (DROH-moh), a servant called by Simo to carry off Davus.

Phania

Phania (FA-nee-uh), Chremes’ brother. Pasibula, later named Glycerium, had been entrusted to Phania’s care at the time of the shipwreck. He died in Andros.

Bibliography

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Last Updated on May 7, 2015, by eNotes Editorial. Word Count: 247

Butler, James H. The Theatre and Drama of Greece and Rome. San Francisco: Chandler, 1972. Discusses Terence’s defense of plays he wrote; Terence’s works were better received after his lifetime and severely criticized during it. Shows Andria in context of other works by Terence. Compares the plays of Terence to those of Plautus.

Copley, Frank O. “Terence.” In Latin Literature: From the Beginnings to the Close of the Second Century a.d. Ann Arbor: University of Michigan Press, 1969. Describes the circumstances in which Andria was written and how it was first presented to playwright and critic Caecilius.

Hadas, Moses. A History of Latin Literature. New York: Columbia University Press, 1952. Examines how Andria was created from two plays of Menander, a classical playwright. Gives a helpful plot line and offers criticism of Andria. Discusses circumstances in which the play was presented and produced.

Norwood, Gilbert. The Art of Terence. Oxford: Basil Blackwell, 1923. Examines the success of the play and whether Terence received help from other sources. Allows for a comparison of Andria to the other comedies by Terence. Helpful for finding early twentieth century criticism on Terence.

Terence. “A Poet Defends Himself: Andria I-27.” In Ancient Literary Criticism: The Principal Texts in New Translations. Edited by D. A. Russell and M. Winterbottom. Oxford: Clarendon Press, 1972. Discusses Terence’s prologue of Andria. Claims Terence uses this prologue for literary defense—Terence often used his prologues to defend his works and not merely for an introduction of the plot.

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