husband Pamphila - daughter of Sostrata Music Girl - slave of Sannio Dromo - Demea's slave Sostrata - widowed woman who lives next to Micio Parmeno - a slave The main characters in terms of number of lines spoken or sung are: Demea (28%) Micio (23%) Syrus (14%) Aeschinus (10%) Sannio (7%) Hegio (5%) Geta (5%) Ctesipho (4.5%) Sostrata (2.5%) Canthara (1%) Ctesipho, Sostrata, and Canthara sing all their lines. The three old men Demea, Micio, and Hegio speak most of theirs, in iambic senarii, singing only occasionally. Metrical structure Terence's plays are traditionally divided into five acts. However, it is not thought that these divisions go back to Terence's time. Also, the acts themselves do not always match the structure of the plays, which is more clearly shown by the variation in metres. In both Plautus and Terence's plays the usual pattern is to begin each section with iambic senarii (which were spoken without music), then a scene of music in various metres, and finally a scene in trochaic septenarii, which were apparently recited to the accompaniment of (a pair of reed pipes). In his book The Music of Roman Comedy, Moore calls this the "ABC succession", where A = iambic senarii, B = other metres, C = trochaic septenarii. In the Adelphi the ABC pattern is less evident than it is in some other plays. The pattern is: 1. Aeschinus's misbehaviour causes alarm: ABCBAB, BBCB 2. Syrus prevents Demea from finding Ctesipho: ABBC 3. Aeschinus apologises and is forgiven: BBBC, ACB 4. Demea finds Ctesipho: AC 5. Demea takes control: ABC According to Moore, in this play (Terence's last) Terence shows a mastery of metre, moving from one metre to another to express mood and emotion as required. The abbreviation ia6 = iambic senarii, tr7 = trochaic septenarii, ia8 = iambic octonarii, tr8 = trochaic octonarii. Unusually for Terence, the play contains one short polymetric song (lines 610–617) with an irregular mixture of choriambic, wilamowitzianus, and other metres. Prologue Prologue (1–25): ia6 (25 lines) Terence defends himself against critics who accuse him of adding a scene from a play by Diphilus to a comedy by Menander; and also those who say that he received help in his writing. He tells the audience that the actors in the first scene, not the prologue, will explain the background. Aeschinus's behaviour causes alarm 1.1–1.2 (26–154): ia6 (129 lines) Micio worries because