The Multi-Operative Eunuch  

            In the final line of the prologue of the play Eunuchus, Terence makes a request of the audience to “give heed in silence so that they should understand what a eunuch means.” Although this line is included as a rebuttal of criticism, it is important to consider its implications when examining the multiple functions of the figure of the eunuch within the play. In a broad sense, Terence is able to criticize through the figure of the eunuch, the mechanics of the image- consumed society in a way that is palatable to his audience, who compromise the object of his criticism. In addition, the figure of the eunuch operates as a distraction to his critique, a necessary component of comic relief that sweeten the bitter taste of his implications.

            Historically, the figure of the eunuch, a servant to wealth, is classically associated with the wealthy as a keeper, a servant, and more mystically as a trustee, which is why Thais requests one of Phaedria to help her create an appearance as a “lady of quality,”(Act I, Scene II). The eunuch, who lives in the house of royalty, is privy to the most intimate details of royal life and is expected to keep such details concealed from the public. Thus it is Thais’ hope that the figure of the eunuch will mask her status as a foreigner and a courtesan, in attempt to give her the appearance of being from a different class.  

            In Act I, Parmeno asserts to Thais, “if you wish it to be kept a secret, speak the truth,”(Terence, Act I, Scene II). Parmeno’s lines seem harmless if we consider the source, the most literally servile character in the play, a slave. However, if granted further attention as Terence requested, one can see how Parmeno’s social standing, his literal servility, imbues his statement with a certain degree of absurdity, thus softening the implications. Such a display of disrespect to one of higher social rank than he, is comical in its irony and the absurdity of such an exchange functions to dull the sharpness of the claim that in the society of the late Roman Republic, truth is kept a secret, whilst displayed is a series of deceptions, or to put it in Parmeno’s words, if something be false, “out it goes,” (Act II, Scene II). In this case, the figure of the eunuch that appears in Parmeno’s servility as a slave, allows him to speak with brazen honesty, as his class prevents him from being taken seriously. In such a way, he is the most apt character to make such remarks, as the humor of this dynamic dilutes the bold assertion that plays out throughout the rest of the plot in the character’s various attempts at hiding the truth.

            After masking himself physically in the dress of the eunuch, Chaerea laments, “I have been most dreadfully harassed with running about, that no one might recognize me,” (Act V, Scene II). Embodied as the eunuch, he must physically hide to cover up the shameful act he has committed. The non-threatening reputation of the eunuch as a servile and gentile creature provides the guise for Chaerea to commit the crime. The figure of eunuch functions in this instance to generate irony and humor, through means of Chaerea as he assumes a violent and masculine role. At first glance, some could be inclined to think that the play derives its title from this single act without noticing the deeper operations of the figure, which harkens back to Terence’s request to “give heed in silence to understand.”

            It is important to note how the characters who are more literally connected to the figure of the eunuch, such as Parmeno and Gnatho possess more traditionally masculine characteristics, so far as both often supply advice to their masters and in doing so assume a dominant position as well as being self-assured; Gnatho, who is confident enough to “bade [a fellow] to become his follower” as well as initiate a school of parasites to follow his example, and in his name, “Gnathonics,”(Act III, Scene II) and Parmeno, who is so confident as to express his disproval of his master’s lovesick behavior, declaring that “[she] will be the first to accuse you, and you too ready to give satisfaction to her,”(Act III, Scene II) and later his approval as Phaedria takes his advice declaring, “that he shows himself a man,”(Act III, Scene II).  Ironically, the characters of Thraso and Phaedria who by all means are expected to have such qualities, instead assume the figure of the eunuch, as they are rendered servile by means of their own insecurities and desires; Thraso by his lack of current success is forced to live through the successes of his past and in attempt to convince himself and others of his worth and Phaedria by his all encompassing desire for Thais.

            By creating a distinction between servility by circumstance and by personality, Terence subtly designates the subject of his criticism as the upper class. He critiques through the characters of Chaerea, Thraso and Phaedria, all of whom are originally naturally associated by the audience as possessing a higher degree of morality than their lower class companions Parmeno and Gnatho. They are revealed to hold such an association not by their immunity toward vice or flaw, but by their care in ensuring such flaws remain concealed to the public eye. He thus surmises of the late Roman Republic in which they live, that although the lower class must often literally be rendered servile, the upper class is rendered servile to appearances and expectations. Thus the figure of the eunuch serves to describe every man in late Roman Republic society, as it has every character in the play. In the instance of a play, of which whose audience would have been composed of those who can afford a ticket, such an appraisal requires a degree of caution and subtlety, both of which the multiple layers of the figure of the eunuch affords him.