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As he goes homewards, Parmeno meets the younger son of his master's family,—Chærea, an officer in the City Guard. He is in a great state of excitement, raving to himself about some young beauty whom he had seen in the street on his way from guard, and followed for some time, but has suddenly lost sight of. The family servant is in despair, for he knows the temperament of the young soldier. Phædria, the elder brother, is inflammable enough in such matters; but his is mere milk-and-water passion compared with Chærea's. It is love at first sight, in his case, with a vengeance. He confides his whole story—a very short one—to Parmeno; reminds him of all the tricks they played together when he was a boy; how he used to rob the housekeeper's room to bring his friend in the servants' hall good things for supper: and how Parmeno had promised what he would do for him when he grew up to be a man. Parmeno, with the usual inclination of his class to oblige his young master in such matters, asks him some questions about this interesting stranger: and from Chærea's description of her companions—Gnatho, and a maid-servant—and the fact of her having disappeared somewhere in this little by-street, he comes to the conclusion that she can be no other than the beautiful slave-girl whom he has just seen pass into the house of Thais. He begs Chærea to discontinue his pursuit: the object is unworthy of him. But when the young officer learns that Parmeno knows who she is, and where she is to be found, he becomes still more eager in his quest. At last Parmeno suggests a possible mode of introduction—if Chærea likes to black his face, and change clothes with the Ethiopian whom his