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Instead therefore of following the lead of Terence's or the hint of Jonson's example, and exalting the accent of his comedy to the full-mouthed pitch of a Chremes or a Kitely, he strikes out some forty and odd lines of rather coarse and commonplace doggrel about brokers, proctors, lousy fox-eyed serjeants, blue and red noses, and so forth, to make room for the bright light interlude of fairyland child's-play which might not unfittingly have found place even within the moon-charmed circle of A Midsummer Night's Dream.
There is a Chremes in four plays who stands for an old man in three, for a youth in one; while the names Sostrata, Sophrona, Bacchis, Antipho, Hegio, Phaedria, Davus, and Dromo, all occur in more than one piece. Thus we lose that close association of a name with a character, which is a most important aid towards lively and definite recollection.
My soul, you think, should be free from jealousy and the other weaknesses of my sex. There you are mistaken. I am a woman, and wish to remain one. As Terence's Chremes says he is a human being, and nothing human is unknown to him, I do not hesitate to confess all feminine frailties.
At the end of this time it befell, even as it befalleth of all things, that Chremes, now an old man, departed this life, whereof the two young men suffered a like sorrow, as for a common father, nor could his friends and kinsfolk discern which of the twain was the more in need of consolation for that which had betided them.
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