Huic fabulae nomen fecit Andromache*, vel Homero teste mulier omnium laudatissima, Hectoris quondam uxor regnique Troiani magna pars: quae, quia ob eximias quasdam virtutes Neoptolemo, cui seruiebat, in pretio habebatur, plerasque turbas in hoc Dramate dedit. Hermione enim cum abs se virum alieniorem animadverteret, illico id fieri vel philtris vel aliis malis artibus paelicis suspicabatur. Quare absente marito consilium capit cum Menelao patre de interficienda Andromache et filio eiusdem Molotto. Verum cum Pelei interuentu prohiberentur a taetro facinore, adeo Hermionem nefarii ausus paenitere coepit ut iam de suspendio morteque voluntaria cogitaret: usque adeo ipsam et ipsa conscientia et metus poenae territabant. Dum autem inter haec mala et curas aestuat misera, Orestes casu Phthiam venit, Delphos videlicet profecturus ad opprimendum Neoptolemum. Cum eo itaque ut vindictam mariti effugeret in Spartam fugam arripit. Hinc mox caedes Neoptolemi nuntiatur, planctus Pelei sonant, luctu omnia complentur. Et cum iam altius dolor adscendere non posset, subito rebus commutatis, Deus luctuosis rebus laetum addit exitum: Thetis enim Peleum prius consolatione subleuatum deque funere Neoptolemi curando et reliquis rebus edoctum immortalitate donat.

*[corrected from Andomache, already in Stephanus 1602]

Andromache has given her name to this play, even by the Homeric account the most praiseworthy woman of all, formerly the wife of Hector and an important element of the Trojan kingdom: who, because of certain excellent virtues, was held in great esteem by Neoptolemus, to whom she was a slave, and caused several disturbances in this Drama. For when Hermione noticed that her husband was rather alienated from her, she was instantly suspicious that it came about either by love potions or by some other wicked arts of the concubine. Because of this, with her husband absent, she makes with her father Menelaus a plan of killing Andromache and her son Molottus. But when they were prevented from a wicked crime by Peleus’ intervention, she began to repent her wicked attempt, so much so that she now considered a voluntary death by hanging: to such an extent were her very conscience and the fear of punishment terrifying her. But while she is agitated and miserable amidst these misfortunes and cares, Orestes comes to Phthia by chance, evidently planning to go to Delphi to kill Neoptolemus. With him, therefore, she rapidly takes flight to Sparta in order to escape the vengeance of her husband. Soon hereafter, the murder of Neoptolemus is announced, the laments of Peleus sound out, and everything is filled with grief. And now when grief could not possibly rise any higher, suddenly circumstances change, and God adds a happy ending to the sorrowful events: for Thetis bestows immortality on Peleus, after he has first been comforted with consolation and has been instructed about taking care of the funeral of Neoptolemus and other matters.

Potest ergo haec fabula commode in duas partes diuidi, quarum una habeat pericula, iurgia insidias Andromaches et Hermiones Menelaique et Pelei logomachiam, secunda contineat paenitentiam dolores fugamque Hermiones, item necem Neoptolemi, planctum Pelei, denique exitum insperatum ac comicum, videlicet Pelei eiusdem ἀθανασίαν.

This play can, therefore, be conveniently divided into two parts, of which one contains perils, the quarrels and plots of Andromache and Hermione and the argument of Menelaus and Peleus. The second contains the repentence, sorrows, and flight of Hermione, also the death of Neoptolemus, the laments of Peleus, and finally the unexpected and comic ending, namely the immortality of this same Peleus.

Ut autem Alcestis optima matrona ac omnibus virtutibus ornata inducitur in superiore fabula, sic in hac Hermione pessimae imaginem exhibet atque adeo spectaculum inauspicati coniugii repraesentat, in quo innumera mala insunt: odia occulta, fastidium, superbia, clandestinae insidiae, denique caedes totiusque domus confusio et dissipatio. Malis vero auspiciis nuptiae fiunt quoties dotis et generis, non virtutis prima ratio habetur, cum non alia pulchrior dos sit matronae quam modestia et vita pudica, quae vere beatum virum facit. Quamobrem Hermione diuite et patre rege nata nihil intolerabilius erat, ut quae assidue suas opes iactaret, paterni regni potentia freta superbiret, preciosarum luxu uestium exultaret, et absente marito caedes etiam factitaret. Cuius perversis moribus ita indulgebat pater ut non solum non absterreret eam a caede Andromaches, sed ad hanc rem praesidio futurus a Sparta usque Phthiam veniret, ut intelligeremus, tum demum mulierem per se alioqui parum incommodam intolerabilem fieri quoties parentes suorum uitiorum patronos habet. Accesserat et alia quaedam corruptela, nimirum consuetudo et commercia (quod et ipsa Oresti fatetur†) cum exteris mulieribus, quae nonnumquam probas matronas transuersas agunt. Quid enim aeque ad omne genus malitiae ingeniatum quam muliebris sexus? Unde a piis feminis prauarum mulierum consortia cauenda sunt, tamquam peruersorum morum et impudicitiae scholae quaedam. Eandem etiam poeta inducit marito fastidio, ciuibus odio fuisse, ob nimiam scilicet morum incommoditatem ac insolentiam. Pestem praeterea connubiorum esse paelicum ac concubinarum licentiam dilucide hoc exemplo demonstratur. Quam item formidabiles matronarum irae in paelices hic videre licet. Nihil enim [272] indignius ferunt quam scorta legitimo toro inferri. Unde Alexander Pheraeus ab uxore sua solum propter paelicatus suspicionem occisus est.* Andromache animi generosi et excelsi necdum obliti pristini splendoris inducitur. Menelaus autem crudelis et impius, qui in gratiam ebriae luxu filiae miseram seruam culpae insontem absente genero occidere parat. Peleus iustus et aequi seruans, qui tanta uirtute id quod crudele et immane erat prohibet. Unde non immerito tam honorifice a choro celebratur. Neoptolemus misere occisus monet non manere inulta quae temere aut superbe in Deum fiunt. Ut semel dicam: haec et praecedens fabulae rectissime ad institutionem coniugum adhiberi possunt, ceu duae imagines et boni et mali connubii.

†[corrected from fatetut, already in Stephanus 1602, who, however, omits et before ipsa]

*[Alexander, tyrant of the Pheraeans in Thessaly from 369 to about 358 BCE, was killed by his wife Thebe and her brothers, as told by Xenophon, Hellenica 6.4.35-37 and Plutarch, Life of Pelopidas 35.4-12 (see also 28.5-10). They report different alleged motivations for Thebe's action. Cicero, de officiis 2.7, is the source for the detail (and the wording) that he was killed because of the suspicion of infidelity with a concubine.]

Just as Alcestis, moreover, is brought forward as the best matron and a woman adorned with all virtues in the previous play, in the same way in this play Hermione displays an image of the worst woman and sets forth the spectacle of an inauspicious marriage, in which there are innumerable misfortunes: secret hatreds, loathing, arrogance, hidden plots, and finally murders, and the disorder and destruction of the whole house. Truly, marriages come about with bad omens whenever the first consideration is made of the dowry and family, and not of virtue, since there is no finer dowry for a woman than modesty and a chaste life, which makes a man truly blessed. For this reason there was nothing more insufferable than Hermione, who was rich and born of a kingly father, since she was constantly boasting about her wealth and was acting proudly, relying on the power of her father’s kingdom, and revelling in the luxury of expensive clothing, and even was engineering murders with her husband absent. And her father was so indulgent toward this corrupt behavior of hers that he not only did not prevent her from plotting the murder of Andromache, but he came all the way to Phthia from Sparta to help with this action, so that we might understand that only then does a woman who by herself is otherwise not very offensive become insufferable, whenever she has her parents as patrons of her faults. A certain other form of corruption had also been added to the mix, namely conversation and exchanges (which she herself confesses to Orestes) with women from outside the house, who sometimes lead astray dutiful women. For what is equally endowed by nature for every manner of wickedness as the female sex? Therefore, associations with depraved women must be avoided by dutiful women, as if they were a sort of school of corrupt customs and immodesty. The poet also represents this same woman as having become a source of disgust to her husband and a source of dislike to citizens, specifically because of the excessive offensiveness and insolence of her behavior. Moreover, it is shown clearly by this example that the unrestrained liberty of mistresses and concubines is a plague upon marriage. Likewise, one can see how formidable the anger of legitimate wives is against concubines. For they say nothing [272] is more unworthy than bringing harlots into a legitimate bed. From this Alexander Pheraeus was killed by his wife, merely because of suspicion of consorting with a mistress. Andromache is presented as a character of noble and excellent mind and one that has not yet forgotten her former splendor. Menelaus, however, is shown as cruel and impious, since, to please his daughter, intoxicated by luxury, he prepares in the absence of his son-in-law to kill the wretched slave woman who is innocent of wrongdoing. Peleus is shown as just and preserving what is right, since he is the one who by such great virtue prevents that which was cruel and monstrous. For this reason he is not undeservedly celebrated so honorifically by the chorus. Neoptolemus, miserably killed, warns us that things that are done thoughtlessly and arrogantly against God do not remain unpunished. To say it once and for all: this play and the preceding play very rightly can be applied to the institution of marriage as two portrayals, both of a good and of a bad marriage.

Argumentum Actus primi

Prologus exponit occasionem et causas futurorum malorum, quae sunt suspiciones prauae, invidia, ac insidiae Hermiones, quae una cum patre Menelao necem Andromachae et eius filio Molotto machinabatur. 2. Ancilla Troiana nuntiat Andromachae consilia Menelai et Hermiones de interficienda ipsa et filio: unde querelam et threnos orditur. 3. Chorus ex Phthiotidis mulieribus ad consolandum desertam Andromachen adest. Hortatur enim eam ut velit aequo animo praesentem fortunam ferre. 4. In colloquio seu potius iurgio Hermiones et Andromaches obserua illius quidem superbiam et insolentiam, huius autem prudentiam ac magnanimitatem. 5. Chorus causas excidii Troiani remotissimas, videlicet iudicium Paridis et neglectum Cassandrae oraculum de necando Paride adhuc infante, repetit.

Argument of the First Act

The prologue sets forth the reason and the causes of impending misfortunes, which are the improper suspicions, jealousies, and schemings of Hermione, who, together with her father Menelaus, was plotting death for Andromache and for her son Molottus. 2. A Trojan slave girl announces to Andromache the plan of Menelaus and Hermione to kill her and her son: as a result she begins mourning and lamentations. 3. The Chorus of Phthian women comes to console the deserted Andromache; for it urges her to endeavor to bear the fortune at hand with equanimity. 4. In the conversation, or rather the quarrel, of Hermione and Andromache, notice the pride and insolence of the one, and the prudence and noble-mindedness of the other. 5. The Chorus revisits the very distant causes of the fall of Troy, namely the judgment of Paris and the disregarded prophecy of Cassandra about killing Paris while still an infant.

[273] Argumentum Actus secundi.

Menelaus comprehenso Molotto necem minatur nisi Andromache fano Thetidis exeat filiumque sua morte redimat. At ipsa eleganti oratione conatur deterrere tyrannum et a sua et filii caede. 2. Menelaus, qua erat inhumanitate et tyrannica insolentia, iam non matrem tantum, sed et filium interficere parat. 3. Andromache sentiens nullum amplius precibus locum esse ad conuicia uertitur. Et prius quam moriatur liberrime iusto dolori indulget. 4. Chorus discordiam et perfidiam coniugum execratur, adhibitis ad eam pulchris parabolis, additque praecepta quaedam de re uxoria. 5. Miserabiliter ducuntur ad necem uincti filius et mater, nequicquam opem et misericordiam implorantes.

[273] Argument of the second act.

Menelaus apprehends Molottus and threatens his death unless Andromache leaves the sanctuary of Thetis and saves her son’s life at the cost of her own death. But she herself tries with an elegant speech to prevent the king from the slaughter of both herself and her son. 2. Menelaus, in a display of his inhumanity and tyrannical arrogance, now prepares to kill not only the mother, but also the son. 3. Andromache, knowing that there is no longer a place for entreaties, turns to vituperation. And before she is to die, she very freely gives way to her justified grief. 4. The Chorus curses the discord and the treachery of wives, applying beautiful analogies to this, and adds certain precepts concerning wifely duties. 5. Miserably, the bound son and mother are being led to slaughter, calling in vain for help and mercy.

[274] Argumentum Actus tertii.

Peleus suo interuentu Andromachen et Molottum puerum, quos Menelaus iam miserabiliter uinctos ducebat, ab instanti caede prohibet. id cum aegre ferret Menelaus, acerrima contentio oritur inter duos principes. 2. Peleus grauissima inuectiua insectatur Menelaum illique cum alia, tum hoc etiam opprobrat quod propter impudicam mulierculam totam Graeciam in discrimen belli adduxerit totque matronas uiduas senesque orbos propter priuatam libidinem fecerit. Contra Menelaus non minus eleganti oratione docet parum prudenter facere Peleum, qui barbaram et seruam mulierem, quae potius omni terra Graeciae exterminanda fuerat, liberae ac regiae puellae anteferat. Helenae autem casum esse fatalem ideoque humana culpa carere. bellum uero ipsum Graeciae toti perutile fuisse, ut quod antea rudes militiae imbellesque fortes gnauos bellicososque reddiderit. 3. Peleus Menelai oratione et supercilio contempto soluit uinctam cum puero, addens interim minas etiam et iustas tantae saeuitiae in miseram seruam reprehensiones. Menelaus non satis fidens rebus suis domum redire festinat, reiecta hac re in aliud tempus opportunius, ut qui cum sene uerbis uelitari frustraneum putet. 4. Chorus admirans uirtutem Pelei, qua tam liberaliter et fortiter Andromachen neci eripuerat, in locum communem de uirtutis praestantia, iustitia et aequitate in omni re colenda excurrit Peleumque honorifice laude prosequitur.

[274] Argument of the third act.

Peleus, by his intervention, protects Andromache and the boy Molottus, whom Menelaus was already leading away miserably bound, from impending death. When Menelaus is upset at this, a most bitter argument arises between the two lords. 2. Peleus castigates Menelaus with extremely severe abuse and he reproaches him, among other reasons, especially for this fact: that because of an unchaste woman he had brought all Greece into the danger of war and had made so many women widows, and so many old men bereaved, because of a private lust. In response, Menelaus with a no less elegant speech tries to show that Peleus is acting with little prudence, since he places ahead of a free and royal girl a foreign and slave woman, who should rather have been banished from the entire territory of Greece. Moreover, he says that what befell Helen was determined by fate and for this reason was exempt from human blame. Also, that truly the war itself was extremely useful for all of Greece, since it rendered men who were previously unskilled in combat and unwarlike strong, diligent, and warlike. 3. Peleus, showing no respect for the speech and arrogance of Menelaus, sets free the captive woman together with her son, meanwhile also adding threats and just reprimands for so great a cruelty against a miserable slave woman. Menelaus, not having sufficient confidence in his position, hurries to return home, with this matter left to another more opportune time, since he considers it useless to skirmish in words with the old man. 4. The Chorus, admiring the virtue of Peleus, by which he had so freely and magnanimously snatched Andromache from death, disgresses on the commonplace topic that outstanding virtue, justice, and fairness should be cultivated in every act, and sends Peleus on his way with praise and honor.

[275] Argumentum Actus quarti.

Hermione conscientia eorum quae in Andromachen facere cogitarat et metu mariti exagitata acerbas orditur querelas, uoluntariaque morte uitae finem facere parat. A quo proposito ipsam et Chorus et famulae abducere conantur. 2. Orestes petiturus oraculum Dodonaeum obiter Phthiam uenit, ut quid soror* ageret cognosceret. Quam cum perturbatam offendit ac plane in desperatis rebus positam, cognita totius rei causa, Phthia Spartam abducit, ut hac occasione ea iam olim concupita potiri posset. Quod tamen puella ipsa parentum arbitrio relinquendum modeste sentit. 3. Chorus per apostrophen Apollinem et Neptunum alloquitur ac de Troiae, cuius ipsi conditores fuerant, miserrimo exitio queritur: apud quam tantis uiribus tantoque humani sanguinis dispendio dimicatum sit, unde praestantissimi Asiae duces perierint et uniuersam Graeciam innumerabilia mala, ut luctus, caedes, adulteriaque, inuaserint.

*[Stiblinus is using the term soror to mean “cousin”, not “sister”.]

[275] Argument of the fourth act.

Hermione, distraught because of her awareness of the things which she had considered doing to Andromache and because of the fear of her husband, begins harsh complaints, and she prepares to end her life with a willing death. Both the Chorus and her attendants try to dissuade her from this plan. 2. Orestes, intending to visit the Dodonean oracle, comes to Phthia on the way, so that he might know what his cousin is doing. When he finds her troubled and clearly placed in a desperate situation, after he has learned the whole reason for the matter, he takes her away from Phthia to Sparta, so that through this opportunity he might be able to gain the woman whom he had desired for a long time already. However, the girl herself discreetly realizes that this matter must be left up to the judgment of her parents. 3. The Chorus addresses Apollo and Neptune through apostrophe and laments the most miserable fall of Troy, of which those gods themselves were the founders: at which place the war was fought by so many men at the cost of so much human blood, because of which the most eminent leaders of Asia perished, and innumerable misfortunes, such as sorrows, slayings, and adulteries, befell all Greece.

[276] Argumentum Actus quinti.

Dum Peleus, sparso rumore de discessu ac fuga Hermiones, rem certo cognoscere studet, aduenit nuntius caedemque Neoptolemi exponit, idque longa et luculenta narratione ac mira rerum hypotyposi. Qua re nihil acerbius ac luctuosius grandaeuo seni accidere poterat. 2. Planctus et Chori et Pelei super occiso Neoptolemo iamque in scenam producto. 3. Ad catastrophen placidumque finem fabulae properatur. nam Thetis ueluti ἀπὸ μηχανῆς adest Peleumque consolatur, quidque de Andromache et Neoptolemo extincto porro fieri uelit edicit. Omnia ista deorum consilio facta docet ipsique immortalitatem et fortunatas insulas pollicetur.

[276] Argument of the fifth act.

While Peleus, because a rumor had spread about the departure and flight of Hermione, is eager to ascertain this for sure, a messenger arrives and expounds the murder of Neoptolemus, and does this with a lengthy and splendid narration and with a marvelous sketch of the events. Nothing more bitter and more sorrowful than this event could have happened to the aged old man. 2. Here we have a lamentation of both the Chorus and Peleus over the slain Neoptolemus, who has now been brought onto the stage. 3. Now things move quickly to the conclusion and calm end of the play, for Thetis, as if from the crane, arrives and comforts Peleus, and explains what she wants to happen henceforth concerning Andromache and the dead Neoptolemus. She explains that all these things have been done by the plan of the gods, and she promises to Peleus himself immortality and the blessed isles.

Translation by Erin Lam