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+Project Gutenberg's Two Latin Plays for High-School Students, by Susan Paxson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Two Latin Plays for High-School Students
+
+Author: Susan Paxson
+
+Release Date: April 5, 2010 [EBook #31894]
+
+Language: Latin
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TWO LATIN PLAYS ***
+
+
+
+
+Produced by Louise Hope, David Starner, Chuck Greif and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net
+
+
+
+
+
+[This e-text includes characters that require UTF-8 (Unicode) file
+encoding:
+
+  Āā Ēē Īī Ōō Ūū ȳ (letters with macron or “long” mark; ȳ is rare)
+
+If any of these characters do not display properly--in particular,
+if the diacritic does not appear directly above the letter--or if the
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+make sure your text reader’s “character set” or “file encoding” is set
+to Unicode (UTF-8). You may also need to change the default font. As a
+last resort, use the Latin-1 version of the file instead.]
+
+
+
+
+  TWO LATIN PLAYS FOR
+  HIGH-SCHOOL STUDENTS
+
+
+  By
+
+  SUSAN PAXSON
+
+  Instructor in Latin in the Omaha High School
+
+
+  GINN AND COMPANY
+  Boston · New York · Chicago · London
+  Atlanta · Dallas · Columbus · San Francisco
+
+
+
+
+  Copyright, 1911, by Susan Paxson
+  All Rights Reserved
+  522.10
+
+
+  The Athenæum Press
+
+  Ginn and Company · Proprietors
+  · Boston · U.S.A.
+
+
+
+
+  _CUI BONO?_
+
+
+  _If this little entertainment shall give pleasure and
+  be of profit to any who have set out on their
+  toilsome journey into the realm of Latin
+  Literature, the writer’s aim will
+  be accomplished_
+
+
+
+
+PREFATORY NOTE
+
+
+I am greatly indebted to Mrs. C. H. Beeson and to Professor Frank J.
+Miller, of the University of Chicago. To the former, for her most
+scholarly and generous assistance in the correcting of the manuscript
+and for her many valuable suggestions throughout the work; to the
+latter, for his painstaking reading of the proof and for his kindly and
+helpful interest. In fact, it was largely due to the helpful uplift that
+came to some of my advanced classes, as well as to myself, from the
+presentation of Professor Miller’s “Dramatizations from Vergil” that
+these little plays were written.
+
+  SUSAN PAXSON
+
+
+
+
+CONTENTS
+
+
+                                    Page
+
+  INTRODUCTION                        ix
+
+  A ROMAN SCHOOL                       1
+
+      COSTUMES                        16
+
+  A ROMAN WEDDING                     19
+
+      COSTUMES AND SUGGESTIONS        37
+
+
+
+
+INTRODUCTION
+
+
+In response to the invitation of the author and publishers, I am glad to
+stand godfather to this little book of original Latin plays. They are
+the product of an enthusiastic teacher coöperating with students whom
+she has, in part by this means, inspired with a genuine interest in
+Roman life and its expression in the Latin tongue. They offer a helpful
+contribution to the solution of the ever-present and vexing problem
+which teachers of Latin in secondary schools are meeting: How can we
+make this Latin _interesting_ to our pupils? How can we compete with
+departments which more easily hold the pupils’ interest because their
+subject matter touches more nearly the various phases of modern life?
+It is, indeed, true that any subject well taught by a live teacher will
+interest pupils. But, even where this condition is realized, the need
+is being felt more and more of something which will vary the deadly
+monotony incident to the learning of the technique of a language,
+especially one which makes its appeal largely to the eye alone through
+the medium of the printed page.
+
+It is one of the most encouraging features of our present-day classical
+work that teachers more and more are inventing ways of vitalizing their
+teaching without weakening it. For this must always be borne in mind:
+that we are not seeking to gain mere _interest_. What we want is
+interest in _Latin_. We want our students to be so interested that they
+will cheerfully endure all the hardships incident to this study because
+they have discovered that it is worth while in itself, because it has
+come to mean something to them, because it actually touches their own
+lives.
+
+If the reader will scan the department of “Current Events” in the
+present volume of the _Classical Journal_, he will find many indications
+of this new spirit among classical teachers in the schools. Thus we find
+a Latin club in a high school in Columbus, Ohio, giving, among other
+activities, an exhibition of a Roman _triclinium_, in which the whole
+scene was enacted as nearly as possible in the Roman fashion,
+accompanied by Latin songs. And thus the pupils were made to realize
+that the Roman’s life was not entirely one of warfare, but that he ate,
+drank, and acted as a real human being. In Kansas, a classical club was
+recently organized by the students of Hiawatha Academy, whose program
+consists of talks on classical subjects and Latin songs, followed by a
+social hour enlivened by Latin games. In Lincoln, Nebraska, a live Latin
+club has originated in an exceptionally strong Cæsar class. They call
+themselves the _Legio Decima_, because they scorn “anything that has to
+do with cavalry”! Their program abounds in live topics connected with
+the Latin work and unique representations of Roman life.
+
+But the greatest success seems to have been gained through the dramatic
+presentation of matter pertinent to the students’ work. We read of a
+spirited entertainment by the students of a Seattle high school, in
+which were given scenes from the “Menaechmi” of Plautus, together with
+the singing of several odes of Horace which had been set to appropriate
+music. Others have attempted a play of Terence. Scores of schools have
+presented dramatized scenes from Vergil; and we read of a school in
+Georgia where Horace’s ninth satire, itself a complete little drama as
+it stands, was played by the students. In the same school portions of
+Cæsar were dramatized and acted; and a dramatization based on the
+conspiracy of Catiline was recently sent to me from a school in Indiana.
+
+From all these and many other points it is reported that great interest
+is aroused among the students, primarily in the fact and production of
+the play itself, but resulting also in a permanent interest in the more
+serious and regular work of the Latin class. The author of the plays
+presented in this book has herself already reaped rich rewards of her
+work in the continued zeal of her students for their Latin study after
+they have passed on to college. She writes that the boy who played
+“Cicero” in the wedding last year is now a freshman in an eastern
+college, and still finds Latin the work of his greatest interest and
+success; and the girl who was “Tullia” in the play is also a freshman in
+college, with zeal and courage enough to attempt the composition of
+Latin hymns.
+
+The difficulty heretofore felt by teachers and their Latin clubs has
+been in finding appropriate plays in Latin simple enough for their
+pupils to master without undue hardship, and appealing strongly in their
+subject matter to the young student; and I feel sure that in these two
+plays, “A Roman School” and “A Roman Wedding,” will be found just the
+material which has been sought. Aside from the awakened interest of the
+student and the vivid impression which his mind will receive of these
+two important phases of Roman life, who can estimate the actual gain in
+the acquisition of the Latin language itself, which will come not alone
+to those students who are fortunate enough to take part in these plays,
+but to those as well who listen to the rehearsals and to the final
+production?
+
+I therefore most cordially commend these plays to all teachers of Latin,
+and urge that they be presented in the schools each year wherever
+possible.
+
+  FRANK JUSTUS MILLER
+  The University of Chicago
+
+
+
+
+A ROMAN SCHOOL
+
+90 B.C.
+
+
+
+
+  DRĀMATIS PERSŌNAE
+
+  Magister
+  Servī
+  Paedagōgus
+  Aulus Licinius Archiās   } _iūdicēs_
+  Pūblius Licinius Crassus }
+  Gāius Licinius Crassus, _adulēscēns_
+
+  _Discipulī_
+
+    Mārcus Tullius Cicerō
+    Quīntus Tullius Cicerō
+    Lūcius Sergius Catilīna
+    Mārcus Antōnius
+    Gāius Iūlius Caesar
+    Appius Claudius Caecus
+    Gnaeus Pompēius
+    Pūblius Clōdius Pulcher
+    Mārcus Iūnius Brūtus
+    Quīntus Hortēnsius Hortalus
+    Lūcius Licinius Lūcullus
+    Gāius Claudius Mārcellus
+    Mārcus Claudius Mārcellus
+
+
+
+
+A ROMAN SCHOOL
+
+
+  When the curtain is drawn, plain wooden benches are seen arranged in
+  order on the stage. Two boys stand at the blackboard, playing “odd
+  or even”; two others are noisily playing _nuces_[1]; one is playing
+  with a top, another is rolling a hoop, and a third is drawing a
+  little toy cart. Three boys in the foreground are playing ball. They
+  are Quintus Cicero, Marcus Cicero, and Marcus Antonius. With their
+  conversation the scene begins.
+
+    [Footnote 1: “Four or five of these (walnuts) are piled
+    pyramidally together, when the players, withdrawing to a short
+    distance, pitch another walnut at them, and he who succeeds in
+    striking and dispersing the heap wins.” Story, “Roba di Roma,”
+    p. 128.]
+
+_Q. Cic._ Mihi pilam dā!
+
+_M. Cic._ Ō, dā locum meliōribus!
+
+_M. Ant._ Tū, Mārce, pilam nōn rēctē remittis. Oportet altius iacere.
+
+_M. Cic._ Iam satis alta erit. Hanc excipe!
+
+  (Tosses the ball very high.)
+
+_M. Mar._ (going up to L. Lucullus who has the cart). Mihi
+plōstellum dā.
+
+_L. Luc._ Nōn, hōc plōstellum est meum. Sī tū plōstellum cupis, domum
+reversus inde pete.
+
+_M. Mar._ Mihi tū nōn grātus es, Lūcī Lūculle.
+
+  (The _Magister_ enters and loudly calls the roll, those present
+  answering _adsum_.)
+
+_Mag._  Mārcus Tullius Cicerō.
+        Quīntus Tullius Cicerō.
+        Lūcius Sergius Catilīna.
+
+  (Catilina is absent and all shout _abest_.)
+
+        Mārcus Antōnius.
+        Gāius Claudius Mārcellus.
+        Gāius Iūlius Caesar.
+        Appius Claudius Caecus.
+
+  (Appius is absent and all again shout _abest_.)
+
+        Lūcius Licinius Lūcullus.
+        Gnaeus Pompēius.
+        Pūblius Clōdius Pulcher.
+        Mārcus Iūnius Brūtus.
+        Quīntus Hortēnsius Hortalus.
+        Mārcus Claudius Mārcellus.
+
+Nunc, puerī, percipite, quaesō, dīligenter, quae dīcam, et ea penitus
+animīs vestrīs mentibusque mandāte. Sine morā respondēte. (Writes on the
+board the sentence “Omnīs rēs dī regunt.”) Nōmen _dī_, Mārce Cicerō,
+dēscrībe.
+
+_M. Cic._ Dī est nōmen, est dēclīnātiōnis secundae, generis masculīnī,
+numerī plūrālis, cāsūs nōminātīvī, ex rēgulā prīmā, quae dīcit: Nōmen
+quod subiectum verbī est, in cāsū nōminātīvō pōnitur.
+
+_Mag._ Bene, Mārce, bene! Ōlim eris tū māgnus vir, eris cōnsul, eris
+ōrātor clārissimus, quod tam dīligēns es. Quīnte Cicerō! (Enter Catilina
+late. He is accompanied by a _paedagogus_ carrying a bag with
+_tabellae_.) Ō puer piger, homō perditissimus eris. Quō usque tandem
+abūtēre, Catilīna, patientiā nostrā? Vāpulābis.
+
+_L. Cat._ Ō magister, mihi parce, frūgī erō, frūgī erō.
+
+_Mag._ Catilīna, mōre et exemplō populī Rōmānī, tibi nūllō modō parcere
+possum. Accēdite, servī! (Enter two _servi_, one of whom takes Catilina
+by the head, the other by the feet, while the _magister_ pretends to
+flog him severely, and then resumes the lesson.[2]) Pergite, puerī.
+Quīnte Cicerō, verbum _regunt_ dēscrībe.
+
+    [Footnote 2: See Johnston, “Private Life of the Romans,” p. 81;
+    or Miller, “The Story of a Roman Boy.”]
+
+_Q. Cic._ (hesitatingly). _Regunt_ est verbum. Est coniugātiōnis
+secundae, coniugātiōnis secundae, coniugātiōnis se . . .
+
+_Mag._ Male, Quīnte. Tū es minus dīligēns frātre tuō Mārcō. Nescīs
+quantum mē hūius negōtī taedeat. Sī pēnsum crās nōn cōnfēceris, est mihi
+in animō ad tuum patrem scrībere. Haec nīl iocor. Tuam nēquitiam nōn
+diūtius feram, nōn patiar, nōn sinam.
+
+_Q. Cic._ Ō dī immortālēs, tālem āvertite cāsum et servāte piōs puerōs,
+quamquam pigrī sunt.
+
+_Mag._ Quīnte Hortēnsī, verbum _regunt_ dēscrībe.
+
+_Q. Hor._ _Regunt_ est verbum; praesēns est _regō_; īnfīnītīvus,
+_regere_; perfectum, _rēxī_; supīnum, _rēctum_. Est coniugātiōnis
+tertiae, generis actīvī, modī indicātīvī.
+
+_Mag._ Rēctē, rēctē, Quīnte! Bonus puer es. Gnaeī Pompēī, perge.
+
+_Gn. Pom._ (crying). Nōn pergere possum.
+
+_Mag._ Ō puer parve, pergere potes. Hanc placentam accipe. Iam perge.
+
+_Gn. Pom._ (taking the little cake and eating it). _Regunt_ temporis
+praesentis est; persōnae tertiae; numerī plūrālis nōmen sequēns, ex
+rēgulā secundā, quae dīcit: Verbum persōnam numerumque nōminis sequitur.
+
+_Mag._ Rēctē! Nōnne tibi dīxī tē rem expōnere posse? Nihil agis, Gnaeī
+Pompēī, nihil mōlīris, nihil cōgitās, quod nōn ego nōn modo audiam, sed
+etiam videam plānēque sentiam. Gāī Mārcelle, tempus futūrum flecte.
+
+_G. Mar._ _Regam_, _regēs_, _reget_, _regēmus_, _regētis_, _regent_.
+
+_Mag._ Quae pars ōrātiōnis est _omnīs_, Gāī?
+
+_G. Mar._ _Omnīs_ est adiectīvum.
+
+_Mag._ Rēctē; estne _omnīs_ dēclīnābile an indēclīnābile, Pūblī Pulcher?
+
+_P. Pul._ _Omnīs_ est dēclīnābile, _omnis_, _omne_.
+
+_Mag._ In quō cāsū est _omnīs_, Mārce Brūte?
+
+_M. Bru._ _Omnīs_ est cāsūs accūsātīvī ex rēgulā quae dīcit: Nōmen
+adiectīvum cāsum et genus nōminis substantīvī sequitur.
+
+_Mag._ Cūius dēclīnātiōnis est _omnīs_, Mārce Mārcelle?
+
+_M. Mar._ _Omnīs_ est dēclīnātiōnis tertiae.
+
+_Mag._ Potesne omnīs dēclīnāre?
+
+_M. Mar._ Oppidō, magister, auscultā. (Declines _omnis_.)
+
+_Mag._ Mārcus Claudius, suō mōre, optimē fēcit. Quam cōnstrūctiōnem
+habet _rēs_, Mārce Brūte?
+
+_M. Bru._ _Rēs_ est nōmen cāsūs accūsātīvī, quod obiectum verbī _regunt_
+est. (Enter Appius Caecus late. His _paedagogus_ accompanies him.)
+
+_Paed._ Magister, Appius Claudius hodiē māne aeger est, idcircō tardē
+venit. (Exit.)
+
+_Mag._ Poenās dā, “Micā, Micā,” recitā.
+
+_App. Caec._  Micā, micā, parva stella,
+              Mīror quaenam sīs, tam bella!
+              Splendēns ēminus in illō
+              Alba velut gemma caelō.
+
+              Quandō fervēns Sōl discessit,
+              Nec calōre prāta pāscit,
+              Mox ostendis lūmen pūrum
+              Micāns, micāns per obscūrum.
+
+_Mag._ Quis alius recitāre potest?
+
+_All_ (shouting). Ego possum, ego possum.
+
+_Mag._ Bene; Mārce Antōnī, recitā.
+
+_M. Ant._     Trēs philosophī dē Tusculō
+              Mare nāvigārunt vāsculō;
+              Sī vās fuisset tūtius
+              Tibi canerem diūtius.
+
+_Others_ (shouting). Mihi recitāre liceat.
+
+_Mag._ Recitā, Gnaeī Pompēī.
+
+_Gn. Pom._    Iōannēs, Ioannēs, tībīcine nātus,
+              Fūgit perniciter porcum fūrātus.
+              Sed porcus vorātus, Iōannēs dēlātus,
+              Et plōrāns per viās it fūr, flagellātus.
+
+_M. Bru._ (holding up his hand). Novum carmen ego possum recitāre.
+
+_Mag._ Et tū, Brūte! Perge!
+
+_M. Bru._     Gāius cum Gāiā in montem
+              Veniunt ad hauriendum fontem;
+              Gāius prōlāpsus frēgit frontem,
+              Trāxit sēcum Gāiam īnsontem.[3]
+
+    [Footnote 3: Here, as well as elsewhere, remember that _Gāius_ and
+    _Gāia_ are each three syllables.]
+
+_Mag._ Hōc satis est hodiē. Nunc, puerī, cor-- Quid tibi vīs, Quīnte
+Hortēnsī? Facis ut tōtō corpore contremīscam.
+
+_Q. Hor._ (who has been shaking his hand persistently). Magister,
+ego novōs versūs prōnūntiāre possum. Soror mea eōs mē docuit.
+
+_Mag._ Recitā celeriter.
+
+_Q. Hor._     Iacōbulus Horner
+              Sedēbat in corner
+              Edēns Sāturnālicium pie;
+              Īnseruit thumb,
+              Extrāxit plum,
+              Clāmāns, Quam ācer puer sum I.
+
+_Mag._ Nunc, puerī, corpora exercēte. Ūnum, duo, tria.
+
+  (The _discipuli_ now perform gymnastic exercises, following the
+  example of the _magister_, who goes through the movements with
+  them. These may be made very amusing, especially if the following
+  movements are used: Arms sideways--stretch; heels--raise, knee bend;
+  forehead--firm; right knee upward--bend.)
+
+_Mag._ Cōnsīdite. Pēnsum crāstinum est pēnsum decimum. Cavēte nē hōc
+oblīvīscāminī. Pēnsum crāstinum est pēnsum decimum. Et porrō hunc versum
+discite: “Superanda omnis fortūna ferendō est.” (The _magister_ repeats
+this verse emphatically several times in a loud and formal tone, the
+_discipuli_ repeating it after him at the top of their voices.) Iam
+geōgraphia nōbīs cōnsīderanda est et Galliae opera danda. Quid dē Galliā
+potes tū dīcere, Mārce Mārcelle?
+
+_M. Mar._ Gallia est omnis dīvīsa in partēs trēs, quārum ūnam incolunt
+Belgae, aliam Aquītānī, tertiam quī ipsōrum linguā Celtae, nostrā Gallī
+appellantur.
+
+_Mag._ Pūblī Pulcher, hōrum omnium, quī fortissimī sunt?
+
+_P. Pul._ Hōrum omnium fortissimī sunt Belgae.
+
+_Mag._ Mihi dīc cūr Belgae fortissimī sint.
+
+_P. Pul._ Belgae fortissimī sunt proptereā quod ā cultū atque hūmānitāte
+Rōmae longissimē absunt, minimēque ad eōs mercātōrēs Rōmānī saepe
+commeant atque ea quae ad effēminandōs animōs pertinent, important.
+
+_Mag._ Quis fīnēs Galliae dēsīgnāre potest?
+
+_All_ (raising hands). Ego, ego possum.
+
+_Mag._ Lūcī Lūculle, Galliae fīnēs dēsīgnā.
+
+_L. Luc._ Gallia initium capit ā flūmine Rhodanō; continētur Garumnā
+flūmine, Ōceanō, fīnibus Belgārum; attingit flūmen Rhēnum ab Sēquanīs et
+Helvētiīs; vergit ad septentriōnēs.
+
+_Mag._ Quōs deōs colunt Gallī, Gnaeī Pompēī?
+
+_Gn. Pom._ Deōrum maximē Mercurium colunt; hunc omnium inventōrem artium
+ferunt, hunc viārum atque itinerum ducem esse arbitrantur. Post hunc
+Apollinem et Martem et Iovem et Minervam colunt.
+
+_Mag._ Bene, Gnaeī. Quem deum, Catilīna, colunt Rōmānī maximē?
+
+_L. Cat._ Nōs Iovem dīvum patrem atque hominum rēgem maximē colimus.
+
+_Mag._ Nunc, puerī, cantāte. Quod carmen hodiē cantēmus? (Many hands are
+raised.) Gāī Caesar, quod carmen tū cantāre vīs?
+
+_G. Caes._ Volō “Mīlitēs Chrīstiānī” cantāre.
+
+_Mag._ Hōc pulcherrimum carmen cantēmus. (A knock is heard. Enter
+Publius Licinius Crassus and Aulus Licinius Archias with slaves carrying
+scrolls.) Salvēte, amīcī. Vōs advēnisse gaudeō. Nōnne adsīdētis ut
+puerōs cantāre audiātis?
+
+_A. Archias._ Iam rēctē, carmen sānē audiāmus.
+
+_Mag._ Optimē, puerī, cantēmus. Ūnum, duo, tria.
+
+  (All rise and sing; each has the song[4] before him on a scroll.)
+
+    [Footnote 4: Tune of “Onward, Christian Soldiers.” Slightly
+    altered from _Education_, Vol. IX, p. 187. The author hopes that
+    this most obvious anachronism will be pardoned on the ground that
+    this hymn appeals to young pupils more than most Latin songs,
+    and is therefore enjoyed by them and more easily learned.]
+
+    Mīlitēs Chrīstiānī,
+    Bellō pergite;
+    Cāram Iēsū crucem
+    Vōs prōvehite.
+    Chrīstus rēx, magister,
+    Dūcit āgmina,
+    Eius iam vēxillum
+    It in proelia.
+
+    Māgnum āgmen movet
+    Deī ecclēsia.
+    Gradimur sānctōrum,
+    Frātrēs, sēmitā.
+    Nōn dīvīsī sumus,
+    Ūnus omnēs nōs;
+    Ūnus spē, doctrīnā,
+    Cāritāte nōs.
+
+    Thronī atque rēgna
+    Īnstābilia,
+    Sed per Iēsum cōnstāns
+    Stat ecclēsia.
+    Portae nōn gehennae
+    Illam vincere,
+    Nec prōmissus Iēsū
+    Potest fallere.
+
+    Popule, beātīs
+    Vōs coniungite!
+    Carmina triumphī
+    Ūnā canite;
+    Chrīstō rēgī honor,
+    Laudēs, glōria,
+    Angelī hōc canent
+    Saecla omnia.
+
+_Mag._ Iam, puerī, silentiō factō, Gāius Iūlius Caesar nōbīs suam
+ōrātiōnem habēbit quam dē ambitiōne suā composuit. Hāc ōrātiōne fīnītā,
+Mārcus Tullius Cicerō suam habēbit. Ut prōnūntiātum est complūribus
+diēbus ante, hī duo puerī dē praemiō inter sē contendunt. Hōc diē
+fēlīcissimō duo clārissimī et honestissimī virī arbitrī sunt, Aulus
+Licinius Archiās et Pūblius Licinius Crassus. In rōstra, Gāī Iūlī
+Caesar, ēscende!
+
+_G. Caes._ (Reads from a scroll or recites.) Mea cāra ambitiō est
+perītus dux mīlitum fierī. Bella multa et māgna cum gentibus omnibus
+nātiōnibusque orbis terrae gerere cupiō.
+
+Bellum īnferre volō Germānīs et īnsulae Britanniae omnibusque populīs
+Galliae et cēterīs quī inimīcō animō in populum Rōmānum sunt. In prīmīs,
+in īnsulam Britanniam pervenīre cupiō, quae omnis ferē Rōmānīs est
+incōgnita, et cōgnoscere quanta sit māgnitūdō īnsulae.
+
+Volō pontem in Rhēnō aedificāre et māgnum exercitum trādūcere ut metum
+illīs Germānīs quibus nostra parvula corpora contemptuī sunt iniciam.
+Ubi Rhēnum ego trānsierō, nōn diūtius glōriābuntur illī Germānī
+māgnitūdine suōrum corporum.
+
+Vōs sententiam rogō, iūdicēs amplissimī, nōnne est haec ambitiō honesta?
+
+Deinde rēs gestās meās perscrībam. Negōtium hūius historiae legendae
+puerīs dabō mentium exercendārum causā, nam mihi crēdite, commentāriī dē
+bellō Gallicō ūtilēs erunt ad ingenia acuenda puerōrum. (_Discipuli_
+applaud.)
+
+_Mag._ Nunc Mārcus nōbīs dē suā cārissimā ambitiōne loquētur. In rōstra
+ēscende, Mārce!
+
+_M. Cic._ Quoad longissimē potest mēns mea respicere et ultimam memoriam
+recordārī, haec mea ambitiō fuit, ut mē ad scrībendī studium cōnferam,
+prīmum Rōmae, deinde in aliīs urbibus.
+
+Ambitiō mea autem est omnibus antecellere ingenī meī glōriā, ut haec
+ōrātiō et facultās, quantacumque in mē sit, numquam amīcōrum perīculīs
+dēsit. Nōnne est haec ambitiō maximum incitāmentum labōrum?
+
+Deinde, haec est mea ambitiō, ut cōnsul sim. Dē meō amōre glōriae vōbīs
+cōnfitēbor. Volō poētās reperīre quī ad glōriam meī cōnsulātūs
+celebrandam omne ingenium cōnferant. Nihil mē mūtum poterit dēlectāre,
+nihil tacitum. Quid enim, nōnne dēsīderant omnēs glōriam et fāmam? Quam
+multōs scrīptōrēs rērum suāram māgnus ille Alexander sēcum habuisse
+dīcitur! Itaque, ea verba quae prō meā cōnsuētūdine breviter
+simpliciterque dīxī, arbitrī, cōnfīdō probāta esse omnibus. (_Discipuli_
+applaud.)
+
+_Mag._ Ut vidētis, arbitrī clārissimī, puerī ānxiīs animīs vestrum
+dēcrētum exspectant. Quae cum ita sint, petō ā vōbīs, ut testimōnium
+laudis dētis.
+
+_A. Archias._ Ambōs puerōs, magister, maximē laudamus, sed ūnus sōlus
+praemium habēre potest. Nōs nōn dēcernere possumus. Itaque dēcrēvimus ut
+hī puerī ambō inter sē sortiantur uter praemium obtineat. Servī, urnam
+prōferte! Nōmina in urnam iaciam. Quī habet nōmen quod prīmum ēdūcam, is
+vīctor erit. (Takes from the urn a small chip and reads the name _Marcus
+Tullius Cicero_.) Tē, Mārce Cicerō, victōrem esse prōnūntiō. Sīc fāta
+dēcrēvērunt. Servī, corōnam ferte! (Places a wreath of leaves on the
+head of Marcus. The _discipuli_ again applaud.)
+
+_M. Cic._ (going up to Cæsar). Caesar, nōlī animō frangī. Nōn dubium est
+quīn tū meliōrem ōrātiōnem habuerīs.
+
+_G. Caes._ (coolly). Dīs aliter vīsum est.
+
+_Mag._ Vōs ambō, Gāī et Mārce, honōrī huic scholae estis. Utinam cēterī
+vōs imitentur. Aliud certāmen hūius modī mox habēbimus. Loquēmur dē--
+(A knock is heard. Enter Gaius Licinius Crassus.)
+
+_G. Cras._ Mī pater!
+
+_P. Cras._ Mī fīlī! (They embrace.)
+
+_G. Cras._ Māter mea mihi dīxit tē arbitrum in hōc certāmine hodiē esse.
+Tē diūtius exspectāre nōn potuī. Iam diū tē vidēre cupiō et ego quoque
+cupiō hōc certāmen audīre. Estne cōnfectum?
+
+_P. Cras._ Cōnfectum est. Utinam hī puerī tē recitāre audiant! Tū eōs
+docēre possīs quōmodo discipulī Rhodiī in scholā recitent.
+
+_M. Cic._ Ō arbiter, nōbīs grātissimum sit, sī tuum fīlium audīre
+possīmus.
+
+_Discipuli_ (eagerly). Ō Crasse, recitā, recitā!
+
+_G. Cras._ Sī vōbīs id placet, recitābō, meum tamen carmen longum est.
+Ēius titulus est “Pome of a Possum.” (Recites with gesticulation.)
+
+    The nox was lit by lūx of lūna,
+    And ’twas a nox most opportūna
+    To catch a possum or a coona;
+    For nix was scattered o’er this mundus,
+    A shallow nix, et nōn profundus.
+    On sīc a nox, with canis ūnus,
+    Two boys went out to hunt for coonus.
+        Ūnus canis, duo puer,
+        Numquam braver, numquam truer,
+        Quam hoc trio quisquam fuit,
+        If there was, I never knew it.
+    The corpus of this bonus canis
+    Was full as long as octō span is,
+    But brevior legs had canis never
+    Quam had hīc bonus dog et clever.
+    Some used to say, in stultum iocum,
+    Quod a field was too small locum
+    For sīc a dog to make a turnus
+    Circum self from stem to sternus.
+    This bonus dog had one bad habit,
+    Amābat much to chase a rabbit;
+    Amābat plūs to catch a rattus,
+    Amābat bene tree a cattus.
+      But on this nixy moonlight night
+    This old canis did just right,
+    Numquam chased a starving rattus,
+    Numquam treed a wretched cattus,
+    But cucurrit on, intentus
+    On the track and on the scentus,
+    Till he treed a possum strongum
+    In a hollow trunkum longum.
+    Loud he barked in horrid bellum,
+    Seemed on terrā vēnit hellum.
+    Quickly ran uterque puer
+    Mors of possum to secure.
+    Cum venērunt, one began
+    To chop away like quisque man;
+    Soon the ax went through the trunkum,
+    Soon he hit it all kerchunkum;
+    Combat deepens; on, ye braves!
+    Canis, puerī, et staves;
+    As his powers nōn longius tarry,
+    Possum potest nōn pūgnāre;
+    On the nix his corpus lieth,
+    Ad the Styx his spirit flieth,
+    Joyful puerī, canis bonus
+    Think him dead as any stonus.
+    Now they seek their pater’s domō,
+    Feeling proud as any homō,
+    Knowing, certē, they will blossom
+    Into heroes, when with possum
+    They arrive, narrābunt story,
+    Plēnus blood et plēnior glory.
+    Pompey, David, Samson, Caesar,
+    Cyrus, Black Hawk, Shalmaneser!
+    Tell me where est now the glōria,
+    Where the honors of vīctōria?
+
+      Cum ad domum nārrant story,
+    Plēnus sanguine, tragic, gory,
+    Pater praiseth, likewise māter,
+    Wonders greatly younger frāter.
+    Possum leave they on the mundus,
+    Go themselves to sleep profundus,
+    Somniant possums slain in battle
+    Strong as ursae, large as cattle.
+
+      When nox gives way to lūx of morning,
+    Albam terram much adorning,
+    Up they jump to see the varmen
+    Of which this here is the carmen.
+    Possum, lo, est resurrēctum!
+    Ecce puerum dēiectum!
+    Nōn relinquit track behind him,
+    Et the puerī never find him;
+    Cruel possum, bēstia vilest,
+    How tū puerōs beguilest;
+    Puerī think nōn plūs of Cæsar,
+    Go ad Orcum, Shalmaneser,
+    Take your laurels, cum the honor,
+    Since istud possum is a goner![5]
+
+    [Footnote 5: Anonymous.]
+
+  (_Discipuli_ applaud.)
+
+_Mag._ Omnēs quī Gāiō Crassō grātiās agere velint, surgite! (All stand.)
+Nunc, puerī, domum redīte.
+
+_Discipuli_ (departing).
+
+      Omne bene,
+      Sine poenā
+    Tempus est lūdendī;
+      Vēnit hōra
+      Absque morā
+    Librōs dēpōnendī.
+
+Valē, magister. Valē, magister.
+
+
+
+
+COSTUMES
+
+
+The _magister_, _iudices_, and _discipuli_ should all wear white togas
+with a purple[6] border. A white gauze shirt with short sleeves may be
+used as a tunic, while white duck trousers and tennis slippers serve to
+complete the costume.
+
+[Illustration]
+
+The togas can be made of white muslin according to the measurements and
+cut given by Professor Johnston,[7] which he has kindly permitted me to
+use. “Those who attempt the reconstruction of the toga wholly or chiefly
+from works of art find it impossible to reproduce on the living form the
+drapery seen on the statues, with a toga of one piece of goods or of a
+semicircular pattern. An experimental form is shown in the figure, and
+resembles that of a lamp shade cut in two and stretched out to its full
+extent. The dotted line _GC_ is the straight edge of the goods; the
+heavy lines show the shape of the toga after it had been cut out, and
+had had sewed upon it the ellipse-like piece marked _FRAcba_. The
+dotted line _GE_ is of a length equivalent to the height of a man
+at the shoulder, and the other measurements are to be calculated
+proportionately. When the toga is placed on the figure, the point _E_
+must be on the left shoulder, with the point _G_ touching the ground in
+front. The point _F_ comes at the back of the neck, and as the larger
+part of the garment is allowed to fall behind the figure the points _L_
+and _M_ will fall on the calves of the legs behind, the point _a_ under
+the right elbow, and the point _b_ on the stomach. The material is
+carried behind the back and under the right arm and then thrown over the
+left shoulder again. The point _c_ will fall on _E_, and the portion
+_OPCa_ will hang down the back to the ground. The part _FRA_ is then
+pulled over the right shoulder to cover the right side of the chest and
+form the _sinus_, and the part running from the left shoulder to the
+ground in front is pulled up out of the way of the feet, worked under
+the diagonal folds, and allowed to fall out a little to the front.”
+
+The _servi_ and _paedagogus_ should wear tunics of some coarse,
+dark-colored material.
+
+In small schools, where there is not a sufficiently large number of boys
+in the Latin classes for _discipuli_, the parts may be taken by girls.
+Their hair should fall nearly to their shoulders, as in the case of the
+Roman boy. They may wear unstarched white skirts under the toga.
+
+The _tabellae_ may be made of little book-shaped slates with wooden
+borders (paint them light-colored), and the rolls of paper.
+
+    [Footnote 6: That is, either “the color of clotted blood” (which
+    was the Tyrian purple, the purple above all others) or any color
+    from this to violet; “purple” meant the dye from any sort of
+    univalve mollusk that gave a dye. There is reason to believe that
+    genuine Turkey red, though not a mollusk dye, was commercially
+    called a purple.]
+
+    [Footnote 7: Johnston, “Private Life of the Romans,” Scott,
+    Foresman & Co., 1903.]
+
+
+
+
+A ROMAN WEDDING
+
+63 B.C.
+
+
+
+
+  TRES SCAENAE
+
+  Scaena prīma:   Spōnsālia
+  Scaena secunda: Nūptiae
+  Scaena tertia:  Dēductiō
+
+
+  DRĀMATIS PERSŌNÆ
+
+  Spōnsa:         Tullia
+  Spōnsus:        Gāius Pīsō
+  Spōnsae pater:  Mārcus Tullius Cicerō
+  Spōnsae māter:  Terentia
+  Spōnsī pater:   Lūcius Pīso Frūgī
+  Spōnsī māter
+  Spōnsae frāter: Mārcus Tullius Cicerō, adulēscēns
+  Flāmen Diālis
+  Pontifex Maximus
+  Iūris cōnsultus
+  Quīntus Hortēnsius
+  Prōnuba
+  Sīgnātōrēs
+  Tībīcinēs
+  Līctōrēs
+
+  Mārcipor   }
+  Philotīmus } Servī
+  Tīrō       }
+  Anna       }
+
+
+
+
+A ROMAN WEDDING
+
+
+SCAENA PRĪMA
+
+SPŌNSĀLIA
+
+  Let the curtain be raised, showing a room furnished as nearly as
+  possible like the atrium of a Roman house. A bench, covered with
+  tapestry, on each side of the stage facilitates the seating of the
+  guests. Cicero is heard practicing an oration behind the scenes.
+
+_M. Cic._ Ō rem pūblicam miserābilem! Quā rē, Quirītēs, dubitātis? Ō dī
+immortālēs! Ubinam gentium sumus? In quā urbe vīvimus? Quam rem pūblicam
+habēmus? Vīvis, et vīvis nōn ad dēpōnendam sed ad cōnfīrmandam tuam
+audāciam.
+
+  (Enter Terentia. A slave, Anna, follows bringing a boy’s toga,
+  which she begins to sew, under Terentia’s direction. Another slave,
+  Marcipor, also follows.)
+
+Nihil agis, nihil mōlīris, nihil cōgitās quod nōn ego nōn modo audiam,
+sed videam. Quae cum ita sint, Catilīna, ex urbe ēgredere; patent
+portae, proficīscere. Māgnō mē metū līberābis dum modo inter mē atque tē
+mūrus intersit. Quid est enim, Catilīna, quod tē iam in hāc urbe
+dēlectāre possit? Quamquam quid loquor? Tē ut ūlla rēs frangat?
+(A crash, similar to that of falling china, is heard.)
+
+_Terentia._ Quid est? Vidē, Mārcipor!
+
+  (As Marcipor is about to leave, Philotimus enters at the right,
+  bringing in his hands the pieces of a broken vase.)
+
+_Phil._ Ō domina, ecce, dominus, dum ōrātiōnem meditātur, vās quod ipse
+tibi ē Graeciā attulit, manūs gestū dēmōlītus est.
+
+_Terentia_ (groaning). Lege, Philotīme, omnia fragmenta. (Exit Phil.)
+Mihi, Mārcipor, fer cistam ex alabastrītā factam. (Exit Mar.)
+(To herself.) Tam molestum est ōrātōrī nūpsisse. (Covers her face with
+her hands, as if weeping.)
+
+_M. Cic._ (proceeding with his practicing). Atque hōc quoque ā mē ūnō
+togātō factum est. Mārce Tullī, quid agis? Interfectum esse Lūcium
+Catilīnam iam prīdem oportēbat. Quid enim malī aut sceleris fingī aut
+cōgitārī potest quod ille nōn concēperit? Ō rem pūblicam fortūnātam,
+ō praeclāram laudem meī cōnsulātūs, sī ex vītā ille exierit! Vix feram
+sermōnēs hominum, sī id fēcerit. (Enter Marcipor with a small box.)
+
+_Mar._ Hīc est, domina, cista tua.
+
+_Terentia_ (takes from her bosom a key and opens the box, taking out a
+package of letters, one of which she reads). “Sine tē, ō mea Terentia
+cārissima, sum miserrimus. Utinam domī tēcum semper manērem. Quod cum
+nōn possit, ad mē cotīdiē litterās scrībe. Cūrā ut valeās et ita tibi
+persuādē, mihi tē cārius nihil esse nec umquam fuisse. Valē, mea
+Terentia, quam ego vidēre videor itaque dēbilitor lacrimīs. Cūrā, cūrā
+tē, mea Terentia. Etiam atque etiam valē.”
+
+Quondam litterās amantissimās scrīpsit; nunc epistolia frīgēscunt.
+Quondam vās mihi dedit, nunc vās mihi dēmōlītur; quondam fuit marītus,
+nunc est ōrātor. Tam molestum est mātrem familiās esse.
+
+  (Enter Cicero, from the right, followed by his slave Tiro, carrying
+  a number of scrolls which he places upon a table.)
+
+_M. Cic._ Quid est, Terentia? Quidnam lacrimās? Mihi dīc.
+
+_Terentia._ Rēs nūllast! Modo putābam quantum mūtātus ab illō Cicerōne
+quī mē in mātrimōnium dūxerit, sit Cicerō quem hodiē videō. Tum
+Terentiae aliqua ratiō habēbātur. Nunc vacat Cicerō librīs modo et
+ōrātiōnibus et Catilīnae. Nescīs quantum mē hūius negōtī taedeat! Nūllum
+tempus habēs ad cōnsultandum mēcum dē studiīs nostrī fīliolī. Magister
+dē eō haec hodiē rettulit. (Hands Cicero a scroll.) Mē pudet fīlī.
+
+_M. Cic._ (reading to himself the report). Dīc meō fīliō, Mārcipor,
+ut ad mē veniat. (Exit Marcipor, who returns bringing young Marcus.)
+
+_M. Cic. a._ Quid est, pater?
+
+_M. Cic._ Tua māter, mī fīlī, animum ānxium ob hanc renūntiātiōnem dē tē
+habet. Mē quoque, cōnsulem Rōmānum, hūius renūntiātiōnis quibusdam
+partibus pudet. (Reads aloud.) “Bis absēns.” Cūr, mī fīlī, ā scholā
+āfuistī?
+
+_M. Cic. a._ Id nōn memoriā teneō.
+
+_Terentia._ Sunt multa quae memoriā nōn tenēs, sī ego dē hāc
+renūntiātiōne iūdicāre possum.
+
+_M. Cic._ (continues reading). “Tardus deciēns!” Deciēns! Id est
+incrēdibile! Fīlius cōnsulis Rōmānī tardus deciēns! Māter tua id nōn
+patī dēbuit.
+
+_Terentia_ (angrily). Māter tua id nōn patī dēbuit! Immō vērō pater tuus
+id nōn patī debuit.
+
+_M. Cic._ “Ars legendī _A_.” Id quidem satis est. “Ars scrībendī _D_.”
+_D_! Id quidem minimē satis est. Nūgātor dēfuit officiō! “Fīlius tuus
+dīcit scrīptūram tempus longius cōnsūmere. Dēbet sē in scrībendō multum
+exercēre, sī scrībere modō tolerābilī discere vult. Arithmētica _A_.
+Huic studiō operam dat. Dēclāmātiō _A_. Omnibus facile hōc studiō
+antecellit.” Bene, mī fīlī. Ea pars hūius renūntiātiōnis mihi māgnopere
+placet. Ōrātor clārissimus ōlim eris.
+
+_Terentia._ Ūnus ōrātor apud nōs satis est.
+
+_M. Cic. a._ Ōrātor erō ōlim nihilō minus. Facile est ōrātōrem fierī.
+Dēclāmātiō est facillima. Hodiē in scholā hanc dēclāmātiōnem didicī:
+
+    Omnia tempus edāx dēpāscitur, omnia carpit,
+      Omnia sēde movet, nīl sinit esse diū.
+    Flūmina dēficiunt, profugum mare lītora siccant,
+      Subsīdunt montēs et iuga celsa ruunt.
+    Quid tam parva loquor? mōlēs pulcherrima caelī
+      Ardēbit flammīs tōta repente suīs.
+    Omnia mors poscit. Lēx est, nōn poena, perīre:
+      Hīc aliquō mundus tempore nūllus erit.
+
+_Terentia._ Tālis dēclāmātiō est facilis. Audī quid dē geōmetriā tuā
+relātum sit. Geōmetria magis quam declāmātiō ostendit utrum tū mentem
+exerceās.
+
+_M. Cic._ (continues reading). “Geōmetria _D_.” Magister haec scripsit:
+“Fīlius tuus dīcit geōmetriam ōrātōribus inūtilem esse. Eī dīligenter
+domī labōrandum est.” Ō Mārce, hōc est incrēdibile! Num dīxistī tū
+geōmetriam ōrātōribus inūtilem esse?
+
+_M. Cic. a._ Ō, studium geōmetriae mihi odiōsum ingrātumque est! Omnēs
+puerōs istīus taedet. Tantī nōn est!
+
+_M. Cic._ Etiam sī studium tū nōn amās, geōmetriam discere dēbēs. Tibi
+centum sēstertiōs dabō sī summam notam in geōmetriā proximō mēnse
+adeptus eris.
+
+_M. Cic. a._ (grasping his father’s hand). Amō tē, pater, convenit!
+Eam adipīscar!
+
+_Terentia_ (to Anna). Estne toga parāta?
+
+_Anna._ Parāta est, domina.
+
+_Terentia._ Hūc venī, Mārce!
+
+_M. Cic. a._ Ō māter, tempus perdere nōlō. Mālō legere.
+
+_Terentia._ Quid dīcis? Nōn vīs? Nōnne vīs novam togam habēre?
+
+_M. Cic. a._ Nōlō. Novā mī nīl opus est. Tam fessus sum! (Picks up a
+scroll and is about to take a seat in the corner.)
+
+_M. Cic._ Ad mātrem tuam, Mārce Cicerō, sine morā, accēde!
+
+  (Marcus is about to obey when a knock is heard at the door.
+  Lucius Piso Frugi and Quintus Hortensius enter at the left.)
+
+_M. Cic._ (greeting Q. Hortensius). Ō amīcī, salvēte! ut valētis?
+
+_Terentia_ (greeting L. Piso). Dī duint vōbīs quaecumque optētis.
+Cicerōnī modo dīcēbam nōs diū vōs nōn vidēre, praesertim tē, Pīsō.
+Mārcipor, ubi est Tullia? Eī dīc ut hūc veniat.
+
+_L. Piso._ Nōlī Tulliam vocāre. Nunc cum parentibus Tulliae agere volō,
+nōn cum Tulliā ipsā.
+
+_Terentia._ Nōn vīs nostram Tulliam vidēre! Quid, scīre volō?
+
+_L. Piso._ Cum eā hōc tempore agere nōn cupiō. Id propter quod in
+vestram domum hodiē vēnī tuā, et Cicerōnis rēfert. Velim vōbīscum agere
+prō meō fīliō, Gāiō Pīsōne, quī fīliam tuam in mātrimōnium dūcere vult.
+
+_M. Cic._ Meam fīliam in mātrimōnium dūcere! Mea Tulliola nōndum satis
+mātūra est ut nūbat. Mea fīlia mihi cārior vītā ipsā est. Eam āmittere
+. . . id nōn ferre possum. Ea lūx nostra est. Meā Tulliolā nihil umquam
+amābilius, nec longā vītā ac prope immortālitāte dīgnius vīdī. Nōndum
+annōs quattuordecim implēvit et iam ēius prūdentia est mīrābilis. Ut
+magistrōs amat! Quam intellegenter legit! Nōn possum verbīs exprimere
+quantō vulnere animō percutiar sī meam Tulliolam āmittam. Utinam penitus
+intellegerēs meōs sēnsūs, quanta vīs paternī sit amōris.
+
+_L. Piso._ Tālia verba, Mārce Tullī, virī Rōmānī nōn propria sunt.
+Necesse est omnēs nostrās fīliās in mātrimōnium dēmus. Nihil aliud
+exspectā.
+
+_Terentia._ Nostra fīlia omnibus grātissima est. Semper enim lepida et
+līberālis est. Iam diū sciō nōs eam nōn semper retinēre posse.
+
+_L. Piso._ Rēctē, rēctē! Meus fīlius bonus est; est ōrātor. Est quoque
+satis dīves. Rōmae duās aedēs habet; rūre māgnificentissima vīlla est
+eī. Cum illō fīlia tua fēlīx erit. Id mihi persuāsum habeō. Quae cum ita
+sint, Mārce Tullī, sine dōte tuam fīliam meō fīliō poscō.
+
+_M. Cic._ Prohibeant dī immortālēs condiciōnem ēius modī. Cum mea fīlia
+in mātrimōnium danda sit, nēminem cōgnōvī quī illā dīgnior sit quam tuus
+fīlius ēgregius.
+
+_L. Piso_ (shaking hands with Cicero). Ō Mārce, mī amīce, dī tē
+respiciant! Nunc mihi eundum est ut fīlium et sīgnātōrēs arcessam et iam
+hūc revertar.
+
+  (Exeunt L. Piso and Q. Hortensius.)
+
+_Terentia._ Dīc, Mārcipor, servīs ut in culīnā vīnum, frūctūs, placentās
+parent. (Exit Marcipor.) Mārce, fīlī, sorōrem vocā.
+
+_M. Cic. a._  Tullia, ō Tullia,
+              Soror mea bella,
+              Amātōres tibi sunt
+              Pīsō et Dolābella.
+
+  (Enter Tullia at the right.)
+
+              Amatne Pīsō tē,
+              Etiam Dolābella?
+              Tullia, ō Tullia,
+              Soror mea bella,
+              Pīsōnem tuum marītum fac;
+              Nōn grātus Dolābella.
+
+_Tullia._ Ō Mārce, tuī mē taedet. Quid est, māter?
+
+_Terentia._ Tullia, nōnne est Gāius Pīsō tibi grātissimus?
+
+_Tullia._ Ō, mihi satis placet. Cūr mē rogās, māter?
+
+_Terentia._ Rogō, mea fīlia, quod Pīsō tē in mātrimōnium dūcere vult.
+Tibi placetne hōc?
+
+_Tullia._ Mihi placet sī--
+
+_Terentia._ Sī--quid, mea fīlia?
+
+_Tullia._ Ō māter, nōlō nūbere. Sum fēlīx tēcum et patre et Mārcō. Vīxī
+tantum quattuordecim annōs. Puella diūtius esse volō, nōn māter
+familiās.
+
+_Terentia._ Pīsō dīves est. Pater tuus nōn māgnās dīvitiās nunc habet.
+Meum argentum quoque cōnsūmptum est. Etiam haec domus nostra nōn diūtius
+erit. Quid faciāmus sī tū nōn bene nūbēs?
+
+_Tullia._ Sciō patrem meum nōn māgnās possessiōnēs habēre; quid vērō,
+māter? Servīlia, Lūcullī spōnsa, quī modo rediit spoliīs Orientis
+onustus, semper suam fortūnam queritur. Misera Lūcullum ōdit ac
+dētestātur. Hesternō diē meīs auribus Servīliam haec verba dīcere
+audīvī: “Mē miseram! Īnfēlīcissimam vītam! Fēminam maestam! quid faciam?
+Mihi dēlēctus est marītus ōdiōsus. Nēmō rogāvit quī vir mihi maximē
+placeat. Coniugem novum ōderō, id certum est. Prae lacrimīs nōn iam
+loquī possum.” Ō māter! ego sum aequē trīstis ac Servīlia. Nōlō Gāiō
+Pīsōnī nūbere. Nūllī hominī, neque Rōmānō neque peregrīnō, quem vīderim,
+nūbere volō.
+
+_Terentia._ Tullia, mea fīlia, mātris et nostrae domūs miserēre! Hodiē
+pater ā mē argentum postulābat quod eī dare nōn poteram. Pīsō dītissimus
+est et nōbīs auxiliō esse potest. Parentum tuōrum causā tē ōrō nē hunc
+ēgregium adulēscentem aspernēris.
+
+_Tullia._ Ō Servīliam et Tulliam, ambās miserās! Quid dīcis tū, mī
+pater? Vīs tū quoque mē in mātrimōnium dare?
+
+_M. Cic._ Ō mea Tulliola, mē nōlī rogāre. Nescīs quantum ego tē amem.
+Sine tē vīvere nōn poterō. Id mihi persuāsum habeō. Putō tamen, sī pācem
+apud nōs habēre velīmus, tē mātris iussa sequī necesse esse.
+
+_Tullia._ Volō, mī pater, tē pācem habēre. Tua vīta tam perturbāta fuit.
+Nūbam, sed ō mē miseram!
+
+  (A knock is heard. Enter from the left L. Piso, Gaius Piso, and the
+  _signatores_. They are greeted by Cicero and Terentia and seated
+  by slaves.)
+
+_Terentia_ (as she receives them). Multum salvēte, ō amīcī. Tulliae vix
+persuādēre poteram, tamen nōn iam invīta est.
+
+_L. Piso._ Bene, bene, hīc est mihi diēs grātissimus. Parāta sunt omnia?
+
+_Terentia._ Omnia parāta sunt, sed iūris cōnsultus nōndum vēnit.
+
+_L. Piso._ Ille quidem ad tempus adesse pollicitus est.
+
+_Terentia._ Id spērō. Tībīcinēs, Mārcipor, hūc arcesse. (Enter Q.
+Hortensius and his wife, together with the pronuba and the _iuris
+consultus_.) Salvēte, meī amīcī. Adsīdite sī placet.
+
+_Iuris con._ Sī mihi veniam dabitis, nōn diū morārī velim. Īnstāns
+negōtium mē in forō flāgitat. Mihi mātūrandum est. (Goes to a table with
+M. Cicero and busies himself with the _tabulae nuptiales_.)
+
+_L. Piso._ Mātūrēmus! Gāī et Tullia, ad mē venīte! (To Cicero.)
+Spondēsne Tulliam, tuam fīliam, meō fīliō uxōrem darī?
+
+_M. Cic._ Dī bene vertant! Spondeō.
+
+_L. Piso._ Dī bene vertant!
+
+_G. Piso_ (placing a ring on the fourth finger of Tullia’s left hand).
+Hunc ānulum quī meum longum amōrem testētur aceipe. Manum, Tullia, tibi
+dō, et vim bracchiōrum et celeritātem pedum et glōriam meōrum patrum.
+Tē amō, pulchra puella. Tē ūnam semper amābō. Mihi es tū cārior omnibus
+quae in terrā caelōque sunt. Fēlīcēs semper sīmus!
+
+_Iuris con._ Tabulae nūptiālēs sunt parātae et ecce condiciōnēs.
+(Reads.) “Hōc diē, prīdiē Īdūs Aprīlēs, annō sescentēsimō nōnāgēsimō
+prīmō post Rōmam conditam, M. Tulliō Cicerōne Gāiō Antōniō cōnsulibus,
+ego M. Tullius Cicerō meam fīliam Tulliam Gāiō Calpurniō Lūcī fīliō
+Pīsōnī spondeō. Eam cum dōte dare spondeō. Ea dōs erit quīndecim mīlia
+sēstertium.” (Turning to Gaius.) Gāī Pīsō, spondēsne tē Tulliam semper
+amātūrum cultūrumque?
+
+_Gr. Piso._ Id spondeō.
+
+_Iuris con._ Spondēsne tū, Tullia, tē Gāiō Pīsōnī semper obsecutūram
+esse?
+
+_Tullia._ Id spondeō.
+
+_Iuris con._ (stamping the _tabulae_ with a seal). Nuc subscrībite!
+Tū prīmus, Cicerō, deinde Terentia et Tullia et Gāius.
+
+  (The _tibicines_ play softly and the _servi_ pass wine, dried fruit,
+  and small cakes. Tullia, taking her glass of wine, steps forward
+  and pours a little out as an offering to the gods. After the
+  witnesses have signed in turn, the following words of
+  congratulation are spoken.)
+
+_Q. Hor._ Beātī vīvātis, Pīsō et Tullia! Omnēs spōnsō et spōnsae salūtem
+propīnēmus! (All drink to the health of the betrothed.)
+
+_M. Cic. a._ Sint dī semper volentēs propitiīque ipsīs domuī
+familiaeque. Sit vōbīs fortūna benīgna!
+
+_M. Cic._ Tibi grātulor, Pīsō. Tū pulcherrimam et optimam puellam tōtīus
+Rōmae adeptus es.
+
+_Pronuba._ Ō fortūnāte adulēscēns quī tālem puellam invēnerīs!
+
+_Iuris con._ Sīgnāvēruntne omnēs? Tū, Quīnte Hortēnsī, nōndum
+subscrīpsistī.
+
+_Q. Hor._ Id statim faciam. (Signs.)
+
+_Pronuba._ Nunc omnēs cantēmus!
+
+  (All join in singing, accompanied by the _tibicines_.)
+
+  [Music:
+  Hespere, qui caelo fertur crudelior ignis?
+  Qui natam possis complexu avellere matris,
+  Complexu matris retinentem avellere natam
+  Et iuveni ardenti castam donare puellam.
+  Quid faciunt hostes capta crudelius urbe?
+  Hymen O Hymenæe, Hymen ades O Hymenæe.]
+
+
+SECUNDA SCAENA
+
+NŪPTIAE
+
+  The house is adorned with wool, flowers, tapestry, and boughs.
+
+  The Pontifex Maximus (wearing a white fillet) and the Flamen Dialis
+  enter from opposite sides, each preceded by a lictor with fasces,
+  who remains standing at the side of the stage, while the priests
+  pass on to the altar. The Flamen burns incense. A slave brings in a
+  pigeon on a silver tray and hands it to the Flamen, while another
+  hands to the Pontifex from a basket a plate of meal and one with
+  crackers.
+
+  The priests, taking respectively the bird and the meal, hold them
+  high above their heads and look up devoutly, after which the bridal
+  party enters, from the left, in the following order:
+
+  The bride, preceded by the pronuba, comes first. Both take their
+  places, standing at the right of the altar; next the groom, preceded
+  by the boys, takes his stand near the bride, a little to the left;
+  the guests follow and are seated.
+
+  Cicero hands wine to the priests, with which they sprinkle the
+  sacrifices.
+
+  As the Flamen again looks up and raises his hands above his head,
+  all kneel except the priests and lictors, while he pronounces the
+  following solemn words:
+
+Auspicia secunda sunt. Māgna grātia dīs immortālibus habenda est.
+Auspicia secunda sunt.
+
+  After all have risen, the pronuba, placing her hands upon the
+  shoulder of the bride and groom, conducts them to the front of the
+  altar. There she joins their hands and they walk around the altar
+  twice, hand in hand, stopping in front when the ceremony proper
+  begins.
+
+  Again the Flamen says:
+
+Auspicia secunda sunt.
+
+  The Pontifex hands the groom a cracker, of which he partakes,
+  passing it on to the bride. The pronuba puts back the veil, and
+  after the bride has eaten the cracker she says to the groom:
+
+Ubi tū Gāius, ego Gāia.
+
+  Both are then conducted by the pronuba to two chairs, placed side by
+  side, at the right of the altar, covered with the skin of a sheep.
+  They face the altar and the pronuba covers their heads with a large
+  veil. (Place the same veil over both.)
+
+_Pontifex Maximus_ (making an offering of meal to Jupiter).
+
+    Iuppiter omnipotēns dīvum pater atque hominum rēx,
+    Hōs spōnsōs bene respiciās, faveāsque per annōs.
+    Iuppiter omnipotēns, precibus sī flecteris ūllīs
+    Aspice eōs, hōc tantum, et sī pietāte merentur,
+    Dā cursum vītae iūcundum et commoda sparge
+    Multa manū plēnā; vīrēs validāsque per mensēs
+    Hī habeant, puerōs pulchrōs fortēsque nepōtēs.
+    Rēbus iūcundīs quibus adsīs Iuppiter semper.
+
+_Flamen Dialis._
+
+    Iūnō quae incēdis dīvum rēgīna Iovisque
+    Coniunx et soror, hōs spōnsōs servā atque tuēre.
+    Sint et fēlīcēs, fortēs, pietāte suprēmī;
+    Māgnā cum virtūte incēdant omnibus annīs,
+    Semper fortūnātī, semper et usque beātī.
+
+  (The pronuba now uncovers the heads of the wedded pair and they
+  receive congratulations.)
+
+_L. Piso._ Beātī vīvātis, Gāī et Tullia!
+
+_Terentia._ Vōbīs sint dī semper faustī!
+
+_M. Cic. a._ Vōbīs ambōbus grātulor. Sed nūlla rēs levis est
+mātrimōnium. Quid, Tullia?
+
+_Tullia._ Rēctē dīcis, frāter, mātrimōnium nōn in levī habendum est.
+
+_M. Cic._ Sint omnēs diēs fēlīcēs aequē ac hīc diēs.
+
+_Pronuba._ Spērō, meī amīcī, omnēs diēs vōbīs laetissimōs futūrōs esse.
+
+  (The curtain falls. The priests and lictors retire, all the rest,
+  except Terentia and Tullia, keeping the same position for the next
+  scene.)
+
+
+SCAENA TERTIA
+
+DĒDUCTIŌ
+
+  The guests are sitting about the room. The bride is sitting on her
+  mother’s lap. Her wedding ornaments have been taken off and she is
+  closely veiled. The groom takes her as if by force from her mother’s
+  arms.
+
+_Tullia._ Ō māter, māter, nōlō ā tē et patre meō discēdere. Ō, mē
+miseram!
+
+_Terentia._ Ī, fīlia, ī! Saepe tuōs parentēs et frātrem vīsere poteris.
+Necesse est nunc cum marītō eās.
+
+_G. Piso._ Mihi, Tullia, cārior vītā es. Tē nōn pigēbit coniugem meam
+fierī. Id polliceor. Mēcum venī, Tullia cārissima!
+
+_Tullia._ Sīc estō. Prius mustāceum edendum est. (She cuts the wedding
+cake and all partake.)
+
+_L. Pisonis uxor._ Hōc mustāceum optimum est. Hōc fēcistīne tū, Tullia?
+
+_Tullia._ Nihil temporis habēbam quō mustāceum facerem. Multa mihi ūnō
+tempore agenda erant.
+
+_Terentia._ Tullia mustāceum facere potest sī spatium datur.
+
+_M. Cic. a._ (taking another piece of cake). Tullia est dēliciae
+puellae. Sī ūnum modo mustāceum habēmus, ad novam domum Tulliae
+proficīscāmur.
+
+(Others cry out) Eāmus!
+
+  The curtain falls. A frame to represent the door of a Roman house is
+  placed to the left of the stage; a small altar stands at the right:
+  a circular piece of wood with holes bored in it as a receptacle for
+  the torches (common wax candles) is placed on top of the altar used
+  by the priests. The procession to the groom’s house advances from
+  the left in the following order:
+
+  The flute-players first, followed by a lad carrying a torch and
+  vase; next the bride, supported on either side by a boy; the groom,
+  throwing nuts to those in the street, walks at the side; a boy
+  follows, carrying the bride’s spindle; the others follow, two by
+  two, all carrying torches and singing:
+
+    Hespere, quī caelō fertur crūdēlior īgnis?
+    Quī nātam possīs complexū āvellere mātris,
+    Complexū mātris retinentem āvellere nātam
+    Et iuvenī ārdentī castam dōnāre puellam.
+    Quid faciunt hostēs captā crūdēlius urbe?
+    Hȳmēn ō Hymenaee, Hȳmēn ades ō Hymenaee.
+
+  When the groom’s house is reached, the bride winds the door posts
+  with woolen bands and anoints them with oil to signify health and
+  plenty. She is then lifted over the threshold by two boys to prevent
+  possible stumbling. The groom, Cicero, Terentia, L. Piso and his
+  wife, enter the house and place their torches on the altar; the
+  others remain standing outside. All continue singing, accompanied by
+  the flute-players, until after the groom hands to the bride a dish,
+  on which incense is burning, and a bowl of water, which both touch
+  in token of mutual purity, and Tullia again repeats the words:
+
+Ubi tū Gāius, ego Gāia.
+
+_G. Piso_ (presenting to her the keys, which she fastens in her girdle).
+Sit fēlīx nostra vīta! Clāvēs meae domūs, mea uxor, accipe!
+
+  Tullia kindles the fire on the altar with her torch, and then throws
+  it to a girl outside. The girl who catches the torch exclaims:
+
+Ō, mē fēlicissimam! proxima Tulliae nūbam.
+
+  (Tullia kneels at the altar and offers prayer to Juno.)
+
+    Iūnō, es auctor mūnerum,
+    Iūnō, māter omnium,
+    Nōbīs dā nunc gaudium.
+    Iūnō, adiūtrīx es hominum,
+    Iūnō, summa caelitum,
+    Nōbis sīs auxilium.
+
+
+
+
+  [Illustration: ROMAN MARRIAGE]
+
+COSTUMES AND SUGGESTIONS
+
+
+The bride wears a white dress trimmed with purple fringe, a girdle of
+crimson wool, and a long yellow veil. She has on many bright-colored
+ribbons, many bracelets and rings, and high yellow shoes with buckles.
+Her hair is arranged in six locks parted by the point of a spear and
+held in place by _vittae_ or bands.
+
+The Pontifex should have a band of purple three inches wide around the
+bottom of his toga.
+
+The boys should wear straight robes reaching to the knee and gathered at
+the shoulders. The garb of the statue “Diana of the Hind” is a good
+illustration.
+
+The slaves wear bright-colored tunics reaching to the knees.
+
+Valuable suggestions may be found in Johnston’s “Private Life of the
+Romans,” “Harper’s Dictionary of Classical Antiquities,” and _Harper’s
+Magazine_, Vol. 46.
+
+The individual parts should be thoroughly learned and practiced before a
+full rehearsal is attempted.
+
+Especial emphasis should be placed upon the necessity of reciting the
+parts slowly and distinctly.
+
+The signing of the _tabulae nuptiales_ was a part of the _nuptiae_, but
+it has been introduced during the _sponsalia_ to give better balance to
+the play. Wherever permissible, very simple Latin has been used in order
+to render the task of memorizing as easy as possible.
+
+
+SCENE I
+
+SPONSALIA--BETROTHAL
+
+Cicero’s house. Terentia complains that Cicero neglects her and that he
+devotes too much time to the prosecution of Catiline and to study. The
+school report (renuntiatio) of her son, the young Cicero, also causes
+her anxiety. Marcus junior adds to her anxiety by affirming that he
+wishes to become an orator like his father. He promises, however, that
+he will study his geometry more diligently and thereby gain the reward
+offered by Cicero. Lucius Piso calls at Cicero’s home to ask the hand of
+Tullia for his son Gaius Piso. Terentia is pleased with the prospect of
+marrying her daughter so well. Tullia herself and Cicero prefer to wait
+until Tullia is older. Tullia says she can sympathize with Servilia and
+others who have no girlhood on account of marrying so young; but finally
+she yields to her mother’s wish and consents to become betrothed to
+Gaius. The witnesses arrive and the betrothal (sponsalia) takes place.
+The marriage contract (tabulae nuptiales) is signed, showing the amount
+of dowry. Refreshments are partaken of, following a libation in honor of
+the gods. Congratulations are offered and the wedding hymn is sung.
+
+
+SCENE II
+
+NUPTIAE--WEDDING CEREMONY
+
+The auspices are taken and pronounced favorable. The groom and bride
+assume the names of Gaius and Gaia, respectively. These particular names
+were chosen, according to some, out of respect to the noted spinner
+Gaius and his royal wife, who were held by the Romans as a pattern of
+conjugal fidelity and skilled industry; according to others, because of
+the derivation from _gaudere_. Tullia with the words “Ubi tu Gaius, ego
+Gaia” (where you are Gaius, I am Gaia) signifies her willingness to
+enter the gens of her husband. The eating of the cake presented by the
+Pontifex (confarreatio) is the most important part of the ceremony,
+suggesting the sacramental view of marriage. The skin upon which the
+bride and groom are seated is supposed to be that of the sheep
+sacrificed before the ceremony begins. Prayer is offered to Jupiter by
+the Pontifex, and to Juno by the Flamen Dialis, after which
+congratulations are offered.
+
+
+SCENE III
+
+DEDUCTIO--PROCESSION TO THE GROOM’S HOUSE
+
+The bride is taken, to all appearances, by force from her mother’s
+embrace,--a survival of the marriage by capture, or, as the Romans
+themselves put it, a reminiscence of the Sabine marriage. The
+_mustaceum_, or wedding cake, is eaten, and the procession begins,
+all singing the wedding hymn. The groom throws nuts to the boys in the
+street as a sign that he will now put away childish things. Arriving at
+the groom’s house, the bride anoints the doorposts with oil to signify
+health and plenty, and then offers a prayer for future happiness.
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+
+Errata
+
+Variation between “æ” and “ae” is unchanged, including the spelling of
+“Drāmatis Persōnæ” or “-ae”. Note that the name is consistently “Cæsar”
+in English, “Caesar” in Latin.
+
+  ... the writer’s aim will be / accomplished
+    [_lack of closing punctuation may be intentional_]
+
+  _Gn. Pom._ Iōannēs, Iōannēs, tībīcine nātus  [Iōannēs, Ioannēs]
+  Portae nōn gehennae  [non]
+  When nox gives way to lūx of morning  [lux]
+
+  Lege, Philotīme, omnia fragmenta.  [frāgmenta]
+  Tē nōn pigēbit coniugem  [non]
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Two Latin Plays for High-School
+Students, by Susan Paxson
+
+*** END OF THIS PROJECT GUTENBERG EBOOK TWO LATIN PLAYS ***
+
+***** This file should be named 31894-0.txt or 31894-0.zip *****
+This and all associated files of various formats will be found in:
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diff --git a/31894-0.zip b/31894-0.zip
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+Project Gutenberg's Two Latin Plays for High-School Students, by Susan Paxson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Two Latin Plays for High-School Students
+
+Author: Susan Paxson
+
+Release Date: April 5, 2010 [EBook #31894]
+
+Language: Latin
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TWO LATIN PLAYS ***
+
+
+
+
+Produced by Louise Hope, David Starner, Chuck Greif and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net
+
+
+
+
+
+[This text is intended for users whose text readers cannot use the
+"real" (Unicode/UTF-8) version of the file. All macrons ("long" marks)
+have been changed to circumflex accents; y with macron (rare) is shown
+as �. The "true" circumflex does not occur. Curly quotes and apostrophes
+have been changed to their simpler "typewriter" form.]
+
+
+
+
+  TWO LATIN PLAYS FOR
+  HIGH-SCHOOL STUDENTS
+
+
+  By
+
+  SUSAN PAXSON
+
+  Instructor in Latin in the Omaha High School
+
+
+  GINN AND COMPANY
+  Boston � New York � Chicago � London
+  Atlanta � Dallas � Columbus � San Francisco
+
+
+
+
+  Copyright, 1911, by Susan Paxson
+  All Rights Reserved
+  522.10
+
+
+  The Athen�um Press
+
+  Ginn and Company � Proprietors
+  � Boston � U.S.A.
+
+
+
+
+  _CUI BONO?_
+
+
+  _If this little entertainment shall give pleasure and
+  be of profit to any who have set out on their
+  toilsome journey into the realm of Latin
+  Literature, the writer's aim will
+  be accomplished_
+
+
+
+
+PREFATORY NOTE
+
+
+I am greatly indebted to Mrs. C. H. Beeson and to Professor Frank J.
+Miller, of the University of Chicago. To the former, for her most
+scholarly and generous assistance in the correcting of the manuscript
+and for her many valuable suggestions throughout the work; to the
+latter, for his painstaking reading of the proof and for his kindly and
+helpful interest. In fact, it was largely due to the helpful uplift that
+came to some of my advanced classes, as well as to myself, from the
+presentation of Professor Miller's "Dramatizations from Vergil" that
+these little plays were written.
+
+  SUSAN PAXSON
+
+
+
+
+CONTENTS
+
+
+                                    Page
+
+  INTRODUCTION                        ix
+
+  A ROMAN SCHOOL                       1
+
+      COSTUMES                        16
+
+  A ROMAN WEDDING                     19
+
+      COSTUMES AND SUGGESTIONS        37
+
+
+
+
+INTRODUCTION
+
+
+In response to the invitation of the author and publishers, I�am glad to
+stand godfather to this little book of original Latin plays. They are
+the product of an enthusiastic teacher co�perating with students whom
+she has, in part by this means, inspired with a genuine interest in
+Roman life and its expression in the Latin tongue. They offer a helpful
+contribution to the solution of the ever-present and vexing problem
+which teachers of Latin in secondary schools are meeting: How can we
+make this Latin _interesting_ to our pupils? How can we compete with
+departments which more easily hold the pupils' interest because their
+subject matter touches more nearly the various phases of modern life?
+It is, indeed, true that any subject well taught by a live teacher will
+interest pupils. But, even where this condition is realized, the need
+is being felt more and more of something which will vary the deadly
+monotony incident to the learning of the technique of a language,
+especially one which makes its appeal largely to the eye alone through
+the medium of the printed page.
+
+It is one of the most encouraging features of our present-day classical
+work that teachers more and more are inventing ways of vitalizing their
+teaching without weakening it. For this must always be borne in mind:
+that we are not seeking to gain mere _interest_. What we want is
+interest in _Latin_. We want our students to be so interested that they
+will cheerfully endure all the hardships incident to this study because
+they have discovered that it is worth while in itself, because it has
+come to mean something to them, because it actually touches their own
+lives.
+
+If the reader will scan the department of "Current Events" in the
+present volume of the _Classical Journal_, he will find many indications
+of this new spirit among classical teachers in the schools. Thus we find
+a Latin club in a high school in Columbus, Ohio, giving, among other
+activities, an exhibition of a Roman _triclinium_, in which the whole
+scene was enacted as nearly as possible in the Roman fashion,
+accompanied by Latin songs. And thus the pupils were made to realize
+that the Roman's life was not entirely one of warfare, but that he ate,
+drank, and acted as a real human being. In Kansas, a�classical club was
+recently organized by the students of Hiawatha Academy, whose program
+consists of talks on classical subjects and Latin songs, followed by a
+social hour enlivened by Latin games. In Lincoln, Nebraska, a�live Latin
+club has originated in an exceptionally strong C�sar class. They call
+themselves the _Legio Decima_, because they scorn "anything that has to
+do with cavalry"! Their program abounds in live topics connected with
+the Latin work and unique representations of Roman life.
+
+But the greatest success seems to have been gained through the dramatic
+presentation of matter pertinent to the students' work. We read of a
+spirited entertainment by the students of a Seattle high school, in
+which were given scenes from the "Menaechmi" of Plautus, together with
+the singing of several odes of Horace which had been set to appropriate
+music. Others have attempted a play of Terence. Scores of schools have
+presented dramatized scenes from Vergil; and we read of a school in
+Georgia where Horace's ninth satire, itself a complete little drama as
+it stands, was played by the students. In the same school portions of
+C�sar were dramatized and acted; and a dramatization based on the
+conspiracy of Catiline was recently sent to me from a school in Indiana.
+
+From all these and many other points it is reported that great interest
+is aroused among the students, primarily in the fact and production of
+the play itself, but resulting also in a permanent interest in the more
+serious and regular work of the Latin class. The author of the plays
+presented in this book has herself already reaped rich rewards of her
+work in the continued zeal of her students for their Latin study after
+they have passed on to college. She writes that the boy who played
+"Cicero" in the wedding last year is now a freshman in an eastern
+college, and still finds Latin the work of his greatest interest and
+success; and the girl who was "Tullia" in the play is also a freshman in
+college, with zeal and courage enough to attempt the composition of
+Latin hymns.
+
+The difficulty heretofore felt by teachers and their Latin clubs has
+been in finding appropriate plays in Latin simple enough for their
+pupils to master without undue hardship, and appealing strongly in their
+subject matter to the young student; and I feel sure that in these two
+plays, "A�Roman School" and "A�Roman Wedding," will be found just the
+material which has been sought. Aside from the awakened interest of the
+student and the vivid impression which his mind will receive of these
+two important phases of Roman life, who can estimate the actual gain in
+the acquisition of the Latin language itself, which will come not alone
+to those students who are fortunate enough to take part in these plays,
+but to those as well who listen to the rehearsals and to the final
+production?
+
+I therefore most cordially commend these plays to all teachers of Latin,
+and urge that they be presented in the schools each year wherever
+possible.
+
+  FRANK JUSTUS MILLER
+  The University of Chicago
+
+
+
+
+A ROMAN SCHOOL
+
+90 B.C.
+
+
+
+
+  DR�MATIS PERS�NAE
+
+  Magister
+  Serv�
+  Paedag�gus
+  Aulus Licinius Archi�s   } _i�dic�s_
+  P�blius Licinius Crassus }
+  G�ius Licinius Crassus, _adul�sc�ns_
+
+  _Discipul�_
+
+    M�rcus Tullius Cicer�
+    Qu�ntus Tullius Cicer�
+    L�cius Sergius Catil�na
+    M�rcus Ant�nius
+    G�ius I�lius Caesar
+    Appius Claudius Caecus
+    Gnaeus Pomp�ius
+    P�blius Cl�dius Pulcher
+    M�rcus I�nius Br�tus
+    Qu�ntus Hort�nsius Hortalus
+    L�cius Licinius L�cullus
+    G�ius Claudius M�rcellus
+    M�rcus Claudius M�rcellus
+
+
+
+
+A ROMAN SCHOOL
+
+
+  When the curtain is drawn, plain wooden benches are seen arranged in
+  order on the stage. Two boys stand at the blackboard, playing "odd
+  or even"; two others are noisily playing _nuces_[1]; one is playing
+  with a top, another is rolling a hoop, and a third is drawing a
+  little toy cart. Three boys in the foreground are playing ball. They
+  are Quintus Cicero, Marcus Cicero, and Marcus Antonius. With their
+  conversation the scene begins.
+
+    [Footnote 1: "Four or five of these (walnuts) are piled
+    pyramidally together, when the players, withdrawing to a short
+    distance, pitch another walnut at them, and he who succeeds in
+    striking and dispersing the heap wins." Story, "Roba di Roma,"
+    p. 128.]
+
+_Q. Cic._ Mihi pilam d�!
+
+_M. Cic._ �, d� locum meli�ribus!
+
+_M. Ant._ T�, M�rce, pilam n�n r�ct� remittis. Oportet altius iacere.
+
+_M. Cic._ Iam satis alta erit. Hanc excipe!
+
+  (Tosses the ball very high.)
+
+_M. Mar._ (going up to L. Lucullus who has the cart). Mihi
+pl�stellum�d�.
+
+_L. Luc._ N�n, h�c pl�stellum est meum. S� t� pl�stellum cupis, domum
+reversus inde pete.
+
+_M. Mar._ Mihi t� n�n gr�tus es, L�c� L�culle.
+
+  (The _Magister_ enters and loudly calls the roll, those present
+  answering _adsum_.)
+
+_Mag._  M�rcus Tullius Cicer�.
+        Qu�ntus Tullius Cicer�.
+        L�cius Sergius Catil�na.
+
+  (Catilina is absent and all shout _abest_.)
+
+        M�rcus Ant�nius.
+        G�ius Claudius M�rcellus.
+        G�ius I�lius Caesar.
+        Appius Claudius Caecus.
+
+  (Appius is absent and all again shout _abest_.)
+
+        L�cius Licinius L�cullus.
+        Gnaeus Pomp�ius.
+        P�blius Cl�dius Pulcher.
+        M�rcus I�nius Br�tus.
+        Qu�ntus Hort�nsius Hortalus.
+        M�rcus Claudius M�rcellus.
+
+Nunc, puer�, percipite, quaes�, d�ligenter, quae d�cam, et ea penitus
+anim�s vestr�s mentibusque mand�te. Sine mor� respond�te. (Writes on the
+board the sentence "Omn�s r�s d� regunt.") N�men _d�_, M�rce Cicer�,
+d�scr�be.
+
+_M. Cic._ D� est n�men, est d�cl�n�ti�nis secundae, generis mascul�n�,
+numer� pl�r�lis, c�s�s n�min�t�v�, ex r�gul� pr�m�, quae d�cit: N�men
+quod subiectum verb� est, in c�s� n�min�t�v� p�nitur.
+
+_Mag._ Bene, M�rce, bene! �lim eris t� m�gnus vir, eris c�nsul, eris
+�r�tor cl�rissimus, quod tam d�lig�ns es. Qu�nte Cicer�! (Enter Catilina
+late. He is accompanied by a _paedagogus_ carrying a bag with
+_tabellae_.) � puer piger, hom� perditissimus eris. Qu� usque tandem
+ab�t�re, Catil�na, patienti� nostr�? V�pul�bis.
+
+_L. Cat._ � magister, mihi parce, fr�g� er�, fr�g� er�.
+
+_Mag._ Catil�na, m�re et exempl� popul� R�m�n�, tibi n�ll� mod� parcere
+possum. Acc�dite, serv�! (Enter two _servi_, one of whom takes Catilina
+by the head, the other by the feet, while the _magister_ pretends to
+flog him severely, and then resumes the lesson.[2]) Pergite, puer�.
+Qu�nte Cicer�, verbum _regunt_ d�scr�be.
+
+    [Footnote 2: See Johnston, "Private Life of the Romans," p. 81;
+    or Miller, "The Story of a Roman Boy."]
+
+_Q. Cic._ (hesitatingly). _Regunt_ est verbum. Est coniug�ti�nis
+secundae, coniug�ti�nis secundae, coniug�ti�nis se�.�.�.
+
+_Mag._ Male, Qu�nte. T� es minus d�lig�ns fr�tre tu� M�rc�. Nesc�s
+quantum m� h�ius neg�t� taedeat. S� p�nsum cr�s n�n c�nf�ceris, est mihi
+in anim� ad tuum patrem scr�bere. Haec n�l iocor. Tuam n�quitiam n�n
+di�tius feram, n�n patiar, n�n sinam.
+
+_Q. Cic._ � d� immort�l�s, t�lem �vertite c�sum et serv�te pi�s puer�s,
+quamquam pigr� sunt.
+
+_Mag._ Qu�nte Hort�ns�, verbum _regunt_ d�scr�be.
+
+_Q. Hor._ _Regunt_ est verbum; praes�ns est _reg�_; �nf�n�t�vus,
+_regere_; perfectum, _r�x�_; sup�num, _r�ctum_. Est coniug�ti�nis
+tertiae, generis act�v�, mod� indic�t�v�.
+
+_Mag._ R�ct�, r�ct�, Qu�nte! Bonus puer es. Gnae� Pomp��, perge.
+
+_Gn. Pom._ (crying). N�n pergere possum.
+
+_Mag._ � puer parve, pergere potes. Hanc placentam accipe. Iam perge.
+
+_Gn. Pom._ (taking the little cake and eating it). _Regunt_ temporis
+praesentis est; pers�nae tertiae; numer� pl�r�lis n�men sequ�ns, ex
+r�gul� secund�, quae d�cit: Verbum pers�nam numerumque n�minis sequitur.
+
+_Mag._ R�ct�! N�nne tibi d�x� t� rem exp�nere posse? Nihil agis, Gnae�
+Pomp��, nihil m�l�ris, nihil c�git�s, quod n�n ego n�n modo audiam, sed
+etiam videam pl�n�que sentiam. G�� M�rcelle, tempus fut�rum flecte.
+
+_G. Mar._ _Regam_, _reg�s_, _reget_, _reg�mus_, _reg�tis_, _regent_.
+
+_Mag._ Quae pars �r�ti�nis est _omn�s_, G��?
+
+_G. Mar._ _Omn�s_ est adiect�vum.
+
+_Mag._ R�ct�; estne _omn�s_ d�cl�n�bile an ind�cl�n�bile, P�bl� Pulcher?
+
+_P. Pul._ _Omn�s_ est d�cl�n�bile, _omnis_, _omne_.
+
+_Mag._ In qu� c�s� est _omn�s_, M�rce Br�te?
+
+_M. Bru._ _Omn�s_ est c�s�s acc�s�t�v� ex r�gul� quae d�cit: N�men
+adiect�vum c�sum et genus n�minis substant�v� sequitur.
+
+_Mag._ C�ius d�cl�n�ti�nis est _omn�s_, M�rce M�rcelle?
+
+_M. Mar._ _Omn�s_ est d�cl�n�ti�nis tertiae.
+
+_Mag._ Potesne omn�s d�cl�n�re?
+
+_M. Mar._ Oppid�, magister, auscult�. (Declines _omnis_.)
+
+_Mag._ M�rcus Claudius, su� m�re, optim� f�cit. Quam c�nstr�cti�nem
+habet _r�s_, M�rce Br�te?
+
+_M. Bru._ _R�s_ est n�men c�s�s acc�s�t�v�, quod obiectum verb� _regunt_
+est. (Enter Appius Caecus late. His _paedagogus_ accompanies him.)
+
+_Paed._ Magister, Appius Claudius hodi� m�ne aeger est, idcirc� tard�
+venit. (Exit.)
+
+_Mag._ Poen�s d�, "Mic�, Mic�," recit�.
+
+_App. Caec._  Mic�, mic�, parva stella,
+              M�ror quaenam s�s, tam bella!
+              Splend�ns �minus in ill�
+              Alba velut gemma cael�.
+
+              Quand� ferv�ns S�l discessit,
+              Nec cal�re pr�ta p�scit,
+              Mox ostendis l�men p�rum
+              Mic�ns, mic�ns per obsc�rum.
+
+_Mag._ Quis alius recit�re potest?
+
+_All_ (shouting). Ego possum, ego possum.
+
+_Mag._ Bene; M�rce Ant�n�, recit�.
+
+_M. Ant._     Tr�s philosoph� d� Tuscul�
+              Mare n�vig�runt v�scul�;
+              S� v�s fuisset t�tius
+              Tibi canerem di�tius.
+
+_Others_ (shouting). Mihi recit�re liceat.
+
+_Mag._ Recit�, Gnae� Pomp��.
+
+_Gn. Pom._    I�ann�s, Ioann�s, t�b�cine n�tus,
+              F�git perniciter porcum f�r�tus.
+              Sed porcus vor�tus, I�ann�s d�l�tus,
+              Et pl�r�ns per vi�s it f�r, flagell�tus.
+
+_M. Bru._ (holding up his hand). Novum carmen ego possum recit�re.
+
+_Mag._ Et t�, Br�te! Perge!
+
+_M. Bru._     G�ius cum G�i� in montem
+              Veniunt ad hauriendum fontem;
+              G�ius pr�l�psus fr�git frontem,
+              Tr�xit s�cum G�iam �nsontem.[3]
+
+    [Footnote 3: Here, as well as elsewhere, remember that _G�ius_ and
+    _G�ia_ are each three syllables.]
+
+_Mag._ H�c satis est hodi�. Nunc, puer�, cor-- Quid tibi v�s, Qu�nte
+Hort�ns�? Facis ut t�t� corpore contrem�scam.
+
+_Q. Hor._ (who has been shaking his hand persistently). Magister,
+ego nov�s vers�s pr�n�nti�re possum. Soror mea e�s m� docuit.
+
+_Mag._ Recit� celeriter.
+
+_Q. Hor._     Iac�bulus Horner
+              Sed�bat in corner
+              Ed�ns S�turn�licium pie;
+              �nseruit thumb,
+              Extr�xit plum,
+              Cl�m�ns, Quam �cer puer sum I.
+
+_Mag._ Nunc, puer�, corpora exerc�te. �num, duo, tria.
+
+  (The _discipuli_ now perform gymnastic exercises, following the
+  example of the _magister_, who goes through the movements with
+  them. These may be made very amusing, especially if the following
+  movements are used: Arms sideways--stretch; heels--raise, knee bend;
+  forehead--firm; right knee upward--bend.)
+
+_Mag._ C�ns�dite. P�nsum cr�stinum est p�nsum decimum. Cav�te n� h�c
+obl�v�sc�min�. P�nsum cr�stinum est p�nsum decimum. Et porr� hunc versum
+discite: "Superanda omnis fort�na ferend� est." (The _magister_ repeats
+this verse emphatically several times in a loud and formal tone, the
+_discipuli_ repeating it after him at the top of their voices.) Iam
+ge�graphia n�b�s c�ns�deranda est et Galliae opera danda. Quid d� Galli�
+potes t� d�cere, M�rce M�rcelle?
+
+_M. Mar._ Gallia est omnis d�v�sa in part�s tr�s, qu�rum �nam incolunt
+Belgae, aliam Aqu�t�n�, tertiam qu� ips�rum lingu� Celtae, nostr� Gall�
+appellantur.
+
+_Mag._ P�bl� Pulcher, h�rum omnium, qu� fortissim� sunt?
+
+_P. Pul._ H�rum omnium fortissim� sunt Belgae.
+
+_Mag._ Mihi d�c c�r Belgae fortissim� sint.
+
+_P. Pul._ Belgae fortissim� sunt proptere� quod � cult� atque h�m�nit�te
+R�mae longissim� absunt, minim�que ad e�s merc�t�r�s R�m�n� saepe
+commeant atque ea quae ad eff�minand�s anim�s pertinent, important.
+
+_Mag._ Quis f�n�s Galliae d�s�gn�re potest?
+
+_All_ (raising hands). Ego, ego possum.
+
+_Mag._ L�c� L�culle, Galliae f�n�s d�s�gn�.
+
+_L. Luc._ Gallia initium capit � fl�mine Rhodan�; contin�tur Garumn�
+fl�mine, �cean�, f�nibus Belg�rum; attingit fl�men Rh�num ab S�quan�s et
+Helv�ti�s; vergit ad septentri�n�s.
+
+_Mag._ Qu�s de�s colunt Gall�, Gnae� Pomp��?
+
+_Gn. Pom._ De�rum maxim� Mercurium colunt; hunc omnium invent�rem artium
+ferunt, hunc vi�rum atque itinerum ducem esse arbitrantur. Post hunc
+Apollinem et Martem et Iovem et Minervam colunt.
+
+_Mag._ Bene, Gnae�. Quem deum, Catil�na, colunt R�m�n� maxim�?
+
+_L. Cat._ N�s Iovem d�vum patrem atque hominum r�gem maxim� colimus.
+
+_Mag._ Nunc, puer�, cant�te. Quod carmen hodi� cant�mus? (Many hands are
+raised.) G�� Caesar, quod carmen t� cant�re v�s?
+
+_G. Caes._ Vol� "M�lit�s Chr�sti�n�" cant�re.
+
+_Mag._ H�c pulcherrimum carmen cant�mus. (A knock is heard. Enter
+Publius Licinius Crassus and Aulus Licinius Archias with slaves carrying
+scrolls.) Salv�te, am�c�. V�s adv�nisse gaude�. N�nne ads�d�tis ut
+puer�s cant�re audi�tis?
+
+_A. Archias._ Iam r�ct�, carmen s�n� audi�mus.
+
+_Mag._ Optim�, puer�, cant�mus. �num, duo, tria.
+
+  (All rise and sing; each has the song[4] before him on a scroll.)
+
+    [Footnote 4: Tune of "Onward, Christian Soldiers." Slightly
+    altered from _Education_, Vol. IX, p. 187. The author hopes that
+    this most obvious anachronism will be pardoned on the ground that
+    this hymn appeals to young pupils more than most Latin songs,
+    and is therefore enjoyed by them and more easily learned.]
+
+    M�lit�s Chr�sti�n�,
+    Bell� pergite;
+    C�ram I�s� crucem
+    V�s pr�vehite.
+    Chr�stus r�x, magister,
+    D�cit �gmina,
+    Eius iam v�xillum
+    It in proelia.
+
+    M�gnum �gmen movet
+    De� eccl�sia.
+    Gradimur s�nct�rum,
+    Fr�tr�s, s�mit�.
+    N�n d�v�s� sumus,
+    �nus omn�s n�s;
+    �nus sp�, doctr�n�,
+    C�rit�te n�s.
+
+    Thron� atque r�gna
+    �nst�bilia,
+    Sed per I�sum c�nst�ns
+    Stat eccl�sia.
+    Portae n�n gehennae
+    Illam vincere,
+    Nec pr�missus I�s�
+    Potest fallere.
+
+    Popule, be�t�s
+    V�s coniungite!
+    Carmina triumph�
+    �n� canite;
+    Chr�st� r�g� honor,
+    Laud�s, gl�ria,
+    Angel� h�c canent
+    Saecla omnia.
+
+_Mag._ Iam, puer�, silenti� fact�, G�ius I�lius Caesar n�b�s suam
+�r�ti�nem hab�bit quam d� ambiti�ne su� composuit. H�c �r�ti�ne f�n�t�,
+M�rcus Tullius Cicer� suam hab�bit. Ut pr�n�nti�tum est compl�ribus
+di�bus ante, h� duo puer� d� praemi� inter s� contendunt. H�c di�
+f�l�cissim� duo cl�rissim� et honestissim� vir� arbitr� sunt, Aulus
+Licinius Archi�s et P�blius Licinius Crassus. In r�stra, G�� I�l�
+Caesar, �scende!
+
+_G. Caes._ (Reads from a scroll or recites.) Mea c�ra ambiti� est
+per�tus dux m�litum fier�. Bella multa et m�gna cum gentibus omnibus
+n�ti�nibusque orbis terrae gerere cupi�.
+
+Bellum �nferre vol� Germ�n�s et �nsulae Britanniae omnibusque popul�s
+Galliae et c�ter�s qu� inim�c� anim� in populum R�m�num sunt. In pr�m�s,
+in �nsulam Britanniam perven�re cupi�, quae omnis fer� R�m�n�s est
+inc�gnita, et c�gnoscere quanta sit m�gnit�d� �nsulae.
+
+Vol� pontem in Rh�n� aedific�re et m�gnum exercitum tr�d�cere ut metum
+ill�s Germ�n�s quibus nostra parvula corpora contemptu� sunt iniciam.
+Ubi Rh�num ego tr�nsier�, n�n di�tius gl�ri�buntur ill� Germ�n�
+m�gnit�dine su�rum corporum.
+
+V�s sententiam rog�, i�dic�s amplissim�, n�nne est haec ambiti� honesta?
+
+Deinde r�s gest�s me�s perscr�bam. Neg�tium h�ius historiae legendae
+puer�s dab� mentium exercend�rum caus�, nam mihi cr�dite, comment�ri� d�
+bell� Gallic� �til�s erunt ad ingenia acuenda puer�rum. (_Discipuli_
+applaud.)
+
+_Mag._ Nunc M�rcus n�b�s d� su� c�rissim� ambiti�ne loqu�tur. In r�stra
+�scende, M�rce!
+
+_M. Cic._ Quoad longissim� potest m�ns mea respicere et ultimam memoriam
+record�r�, haec mea ambiti� fuit, ut m� ad scr�bend� studium c�nferam,
+pr�mum R�mae, deinde in ali�s urbibus.
+
+Ambiti� mea autem est omnibus antecellere ingen� me� gl�ri�, ut haec
+�r�ti� et facult�s, quantacumque in m� sit, numquam am�c�rum per�cul�s
+d�sit. N�nne est haec ambiti� maximum incit�mentum lab�rum?
+
+Deinde, haec est mea ambiti�, ut c�nsul sim. D� me� am�re gl�riae v�b�s
+c�nfit�bor. Vol� po�t�s reper�re qu� ad gl�riam me� c�nsul�t�s
+celebrandam omne ingenium c�nferant. Nihil m� m�tum poterit d�lect�re,
+nihil tacitum. Quid enim, n�nne d�s�derant omn�s gl�riam et f�mam? Quam
+mult�s scr�pt�r�s r�rum su�ram m�gnus ille Alexander s�cum habuisse
+d�citur! Itaque, ea verba quae pr� me� c�nsu�t�dine breviter
+simpliciterque d�x�, arbitr�, c�nf�d� prob�ta esse omnibus. (_Discipuli_
+applaud.)
+
+_Mag._ Ut vid�tis, arbitr� cl�rissim�, puer� �nxi�s anim�s vestrum
+d�cr�tum exspectant. Quae cum ita sint, pet� � v�b�s, ut testim�nium
+laudis d�tis.
+
+_A. Archias._ Amb�s puer�s, magister, maxim� laudamus, sed �nus s�lus
+praemium hab�re potest. N�s n�n d�cernere possumus. Itaque d�cr�vimus ut
+h� puer� amb� inter s� sortiantur uter praemium obtineat. Serv�, urnam
+pr�ferte! N�mina in urnam iaciam. Qu� habet n�men quod pr�mum �d�cam, is
+v�ctor erit. (Takes from the urn a small chip and reads the name _Marcus
+Tullius Cicero_.) T�, M�rce Cicer�, vict�rem esse pr�n�nti�. S�c f�ta
+d�cr�v�runt. Serv�, cor�nam ferte! (Places a wreath of leaves on the
+head of Marcus. The _discipuli_ again applaud.)
+
+_M. Cic._ (going up to C�sar). Caesar, n�l� anim� frang�. N�n dubium est
+qu�n t� meli�rem �r�ti�nem habuer�s.
+
+_G. Caes._ (coolly). D�s aliter v�sum est.
+
+_Mag._ V�s amb�, G�� et M�rce, hon�r� huic scholae estis. Utinam c�ter�
+v�s imitentur. Aliud cert�men h�ius mod� mox hab�bimus. Loqu�mur d�--
+(A�knock is heard. Enter Gaius Licinius Crassus.)
+
+_G. Cras._ M� pater!
+
+_P. Cras._ M� f�l�! (They embrace.)
+
+_G. Cras._ M�ter mea mihi d�xit t� arbitrum in h�c cert�mine hodi� esse.
+T� di�tius exspect�re n�n potu�. Iam di� t� vid�re cupi� et ego quoque
+cupi� h�c cert�men aud�re. Estne c�nfectum?
+
+_P. Cras._ C�nfectum est. Utinam h� puer� t� recit�re audiant! T� e�s
+doc�re poss�s qu�modo discipul� Rhodi� in schol� recitent.
+
+_M. Cic._ � arbiter, n�b�s gr�tissimum sit, s� tuum f�lium aud�re
+poss�mus.
+
+_Discipuli_ (eagerly). � Crasse, recit�, recit�!
+
+_G. Cras._ S� v�b�s id placet, recit�b�, meum tamen carmen longum est.
+�ius titulus est "Pome of a Possum." (Recites with gesticulation.)
+
+    The nox was lit by l�x of l�na,
+    And 'twas a nox most opport�na
+    To catch a possum or a coona;
+    For nix was scattered o'er this mundus,
+    A shallow nix, et n�n profundus.
+    On s�c a nox, with canis �nus,
+    Two boys went out to hunt for coonus.
+        �nus canis, duo puer,
+        Numquam braver, numquam truer,
+        Quam hoc trio quisquam fuit,
+        If there was, I never knew it.
+    The corpus of this bonus canis
+    Was full as long as oct� span is,
+    But brevior legs had canis never
+    Quam had h�c bonus dog et clever.
+    Some used to say, in stultum iocum,
+    Quod a field was too small locum
+    For s�c a dog to make a turnus
+    Circum self from stem to sternus.
+    This bonus dog had one bad habit,
+    Am�bat much to chase a rabbit;
+    Am�bat pl�s to catch a rattus,
+    Am�bat bene tree a cattus.
+      But on this nixy moonlight night
+    This old canis did just right,
+    Numquam chased a starving rattus,
+    Numquam treed a wretched cattus,
+    But cucurrit on, intentus
+    On the track and on the scentus,
+    Till he treed a possum strongum
+    In a hollow trunkum longum.
+    Loud he barked in horrid bellum,
+    Seemed on terr� v�nit hellum.
+    Quickly ran uterque puer
+    Mors of possum to secure.
+    Cum ven�runt, one began
+    To chop away like quisque man;
+    Soon the ax went through the trunkum,
+    Soon he hit it all kerchunkum;
+    Combat deepens; on, ye braves!
+    Canis, puer�, et staves;
+    As his powers n�n longius tarry,
+    Possum potest n�n p�gn�re;
+    On the nix his corpus lieth,
+    Ad the Styx his spirit flieth,
+    Joyful puer�, canis bonus
+    Think him dead as any stonus.
+    Now they seek their pater's dom�,
+    Feeling proud as any hom�,
+    Knowing, cert�, they will blossom
+    Into heroes, when with possum
+    They arrive, narr�bunt story,
+    Pl�nus blood et pl�nior glory.
+    Pompey, David, Samson, Caesar,
+    Cyrus, Black Hawk, Shalmaneser!
+    Tell me where est now the gl�ria,
+    Where the honors of v�ct�ria?
+
+      Cum ad domum n�rrant story,
+    Pl�nus sanguine, tragic, gory,
+    Pater praiseth, likewise m�ter,
+    Wonders greatly younger fr�ter.
+    Possum leave they on the mundus,
+    Go themselves to sleep profundus,
+    Somniant possums slain in battle
+    Strong as ursae, large as cattle.
+
+      When nox gives way to l�x of morning,
+    Albam terram much adorning,
+    Up they jump to see the varmen
+    Of which this here is the carmen.
+    Possum, lo, est resurr�ctum!
+    Ecce puerum d�iectum!
+    N�n relinquit track behind him,
+    Et the puer� never find him;
+    Cruel possum, b�stia vilest,
+    How t� puer�s beguilest;
+    Puer� think n�n pl�s of C�sar,
+    Go ad Orcum, Shalmaneser,
+    Take your laurels, cum the honor,
+    Since istud possum is a goner![5]
+
+    [Footnote 5: Anonymous.]
+
+  (_Discipuli_ applaud.)
+
+_Mag._ Omn�s qu� G�i� Crass� gr�ti�s agere velint, surgite! (All stand.)
+Nunc, puer�, domum red�te.
+
+_Discipuli_ (departing).
+
+      Omne bene,
+      Sine poen�
+    Tempus est l�dend�;
+      V�nit h�ra
+      Absque mor�
+    Libr�s d�p�nend�.
+
+Val�, magister. Val�, magister.
+
+
+
+
+COSTUMES
+
+
+The _magister_, _iudices_, and _discipuli_ should all wear white togas
+with a purple[6] border. A�white gauze shirt with short sleeves may be
+used as a tunic, while white duck trousers and tennis slippers serve to
+complete the costume.
+
+[Illustration]
+
+The togas can be made of white muslin according to the measurements and
+cut given by Professor Johnston,[7] which he has kindly permitted me to
+use. "Those who attempt the reconstruction of the toga wholly or chiefly
+from works of art find it impossible to reproduce on the living form the
+drapery seen on the statues, with a toga of one piece of goods or of a
+semicircular pattern. An experimental form is shown in the figure, and
+resembles that of a lamp shade cut in two and stretched out to its full
+extent. The dotted line _GC_ is the straight edge of the goods; the
+heavy lines show the shape of the toga after it had been cut out, and
+had had sewed upon it the ellipse-like piece marked _FRAcba_. The
+dotted line _GE_ is of a length equivalent to the height of a man
+at the shoulder, and the other measurements are to be calculated
+proportionately. When the toga is placed on the figure, the point _E_
+must be on the left shoulder, with the point _G_ touching the ground in
+front. The point _F_ comes at the back of the neck, and as the larger
+part of the garment is allowed to fall behind the figure the points _L_
+and _M_ will fall on the calves of the legs behind, the point _a_ under
+the right elbow, and the point _b_ on the stomach. The material is
+carried behind the back and under the right arm and then thrown over the
+left shoulder again. The point _c_ will fall on _E_, and the portion
+_OPCa_ will hang down the back to the ground. The part _FRA_ is then
+pulled over the right shoulder to cover the right side of the chest and
+form the _sinus_, and the part running from the left shoulder to the
+ground in front is pulled up out of the way of the feet, worked under
+the diagonal folds, and allowed to fall out a little to the front."
+
+The _servi_ and _paedagogus_ should wear tunics of some coarse,
+dark-colored material.
+
+In small schools, where there is not a sufficiently large number of boys
+in the Latin classes for _discipuli_, the parts may be taken by girls.
+Their hair should fall nearly to their shoulders, as in the case of the
+Roman boy. They may wear unstarched white skirts under the toga.
+
+The _tabellae_ may be made of little book-shaped slates with wooden
+borders (paint them light-colored), and the rolls of paper.
+
+    [Footnote 6: That is, either "the color of clotted blood" (which
+    was the Tyrian purple, the purple above all others) or any color
+    from this to violet; "purple" meant the dye from any sort of
+    univalve mollusk that gave a dye. There is reason to believe that
+    genuine Turkey red, though not a mollusk dye, was commercially
+    called a purple.]
+
+    [Footnote 7: Johnston, "Private Life of the Romans," Scott,
+    Foresman & Co., 1903.]
+
+
+
+
+A ROMAN WEDDING
+
+63 B.C.
+
+
+
+
+  TRES SCAENAE
+
+  Scaena pr�ma:   Sp�ns�lia
+  Scaena secunda: N�ptiae
+  Scaena tertia:  D�ducti�
+
+
+  DR�MATIS PERS�N�
+
+  Sp�nsa:         Tullia
+  Sp�nsus:        G�ius P�s�
+  Sp�nsae pater:  M�rcus Tullius Cicer�
+  Sp�nsae m�ter:  Terentia
+  Sp�ns� pater:   L�cius P�so Fr�g�
+  Sp�ns� m�ter
+  Sp�nsae fr�ter: M�rcus Tullius Cicer�, adul�sc�ns
+  Fl�men Di�lis
+  Pontifex Maximus
+  I�ris c�nsultus
+  Qu�ntus Hort�nsius
+  Pr�nuba
+  S�gn�t�r�s
+  T�b�cin�s
+  L�ct�r�s
+
+  M�rcipor   }
+  Philot�mus } Serv�
+  T�r�       }
+  Anna       }
+
+
+
+
+A ROMAN WEDDING
+
+
+SCAENA PR�MA
+
+SP�NS�LIA
+
+  Let the curtain be raised, showing a room furnished as nearly as
+  possible like the atrium of a Roman house. A�bench, covered with
+  tapestry, on each side of the stage facilitates the seating of the
+  guests. Cicero is heard practicing an oration behind the scenes.
+
+_M. Cic._ � rem p�blicam miser�bilem! Qu� r�, Quir�t�s, dubit�tis? Ԡd�
+immort�l�s! Ubinam gentium sumus? In qu� urbe v�vimus? Quam rem p�blicam
+hab�mus? V�vis, et v�vis n�n ad d�p�nendam sed ad c�nf�rmandam tuam
+aud�ciam.
+
+  (Enter Terentia. A slave, Anna, follows bringing a boy's toga,
+  which she begins to sew, under Terentia's direction. Another slave,
+  Marcipor, also follows.)
+
+Nihil agis, nihil m�l�ris, nihil c�git�s quod n�n ego n�n modo audiam,
+sed videam. Quae cum ita sint, Catil�na, ex urbe �gredere; patent
+portae, profic�scere. M�gn� m� met� l�ber�bis dum modo inter m� atque t�
+m�rus intersit. Quid est enim, Catil�na, quod t� iam in h�c urbe
+d�lect�re possit? Quamquam quid loquor? T� ut �lla r�s frangat?
+(A�crash, similar to that of falling china, is heard.)
+
+_Terentia._ Quid est? Vid�, M�rcipor!
+
+  (As Marcipor is about to leave, Philotimus enters at the right,
+  bringing in his hands the pieces of a broken vase.)
+
+_Phil._ � domina, ecce, dominus, dum �r�ti�nem medit�tur, v�s quod ipse
+tibi � Graeci� attulit, man�s gest� d�m�l�tus est.
+
+_Terentia_ (groaning). Lege, Philot�me, omnia fragmenta. (Exit Phil.)
+Mihi, M�rcipor, fer cistam ex alabastr�t� factam. (Exit Mar.)
+(To�herself.) Tam molestum est �r�t�r� n�psisse. (Covers her face with
+her hands, as if weeping.)
+
+_M. Cic._ (proceeding with his practicing). Atque h�c quoque � m� �n�
+tog�t� factum est. M�rce Tull�, quid agis? Interfectum esse L�cium
+Catil�nam iam pr�dem oport�bat. Quid enim mal� aut sceleris fing� aut
+c�git�r� potest quod ille n�n conc�perit? Ԡrem p�blicam fort�n�tam,
+��praecl�ram laudem me� c�nsul�t�s, s� ex v�t� ille exierit! Vix feram
+serm�n�s hominum, s� id f�cerit. (Enter Marcipor with a small box.)
+
+_Mar._ H�c est, domina, cista tua.
+
+_Terentia_ (takes from her bosom a key and opens the box, taking out a
+package of letters, one of which she reads). "Sine t�, ��mea Terentia
+c�rissima, sum miserrimus. Utinam dom� t�cum semper man�rem. Quod cum
+n�n possit, ad m� cot�di� litter�s scr�be. C�r� ut vale�s et ita tibi
+persu�d�, mihi t� c�rius nihil esse nec umquam fuisse. Val�, mea
+Terentia, quam ego vid�re videor itaque d�bilitor lacrim�s. C�r�, c�r�
+t�, mea Terentia. Etiam atque etiam val�."
+
+Quondam litter�s amantissim�s scr�psit; nunc epistolia fr�g�scunt.
+Quondam v�s mihi dedit, nunc v�s mihi d�m�l�tur; quondam fuit mar�tus,
+nunc est �r�tor. Tam molestum est m�trem famili�s esse.
+
+  (Enter Cicero, from the right, followed by his slave Tiro, carrying
+  a number of scrolls which he places upon a table.)
+
+_M. Cic._ Quid est, Terentia? Quidnam lacrim�s? Mihi d�c.
+
+_Terentia._ R�s n�llast! Modo put�bam quantum m�t�tus ab ill� Cicer�ne
+qu� m� in m�trim�nium d�xerit, sit Cicer� quem hodi� vide�. Tum
+Terentiae aliqua rati� hab�b�tur. Nunc vacat Cicer� libr�s modo et
+�r�ti�nibus et Catil�nae. Nesc�s quantum m� h�ius neg�t� taedeat! N�llum
+tempus hab�s ad c�nsultandum m�cum d� studi�s nostr� f�liol�. Magister
+d� e� haec hodi� rettulit. (Hands Cicero a scroll.) M� pudet f�l�.
+
+_M. Cic._ (reading to himself the report). D�c me� f�li�, M�rcipor,
+ut ad m� veniat. (Exit Marcipor, who returns bringing young Marcus.)
+
+_M. Cic. a._ Quid est, pater?
+
+_M. Cic._ Tua m�ter, m� f�l�, animum �nxium ob hanc ren�nti�ti�nem d� t�
+habet. M� quoque, c�nsulem R�m�num, h�ius ren�nti�ti�nis quibusdam
+partibus pudet. (Reads aloud.) "Bis abs�ns." C�r, m� f�l�, �schol�
+�fuist�?
+
+_M. Cic. a._ Id n�n memori� tene�.
+
+_Terentia._ Sunt multa quae memori� n�n ten�s, s� ego d� h�c
+ren�nti�ti�ne i�dic�re possum.
+
+_M. Cic._ (continues reading). "Tardus deci�ns!" Deci�ns! Id est
+incr�dibile! F�lius c�nsulis R�m�n� tardus deci�ns! M�ter tua id n�n
+pat� d�buit.
+
+_Terentia_ (angrily). M�ter tua id n�n pat� d�buit! Imm� v�r� pater tuus
+id n�n pat� debuit.
+
+_M. Cic._ "Ars legend� _A_." Id quidem satis est. "Ars scr�bend� _D_."
+_D_! Id quidem minim� satis est. N�g�tor d�fuit offici�! "F�lius tuus
+d�cit scr�pt�ram tempus longius c�ns�mere. D�bet s� in scr�bend� multum
+exerc�re, s� scr�bere mod� toler�bil� discere vult. Arithm�tica _A_.
+Huic studi� operam dat. D�cl�m�ti� _A_. Omnibus facile h�c studi�
+antecellit." Bene, m� f�l�. Ea pars h�ius ren�nti�ti�nis mihi m�gnopere
+placet. �r�tor cl�rissimus �lim eris.
+
+_Terentia._ �nus �r�tor apud n�s satis est.
+
+_M. Cic. a._ �r�tor er� �lim nihil� minus. Facile est �r�t�rem fier�.
+D�cl�m�ti� est facillima. Hodi� in schol� hanc d�cl�m�ti�nem didic�:
+
+    Omnia tempus ed�x d�p�scitur, omnia carpit,
+      Omnia s�de movet, n�l sinit esse di�.
+    Fl�mina d�ficiunt, profugum mare l�tora siccant,
+      Subs�dunt mont�s et iuga celsa ruunt.
+    Quid tam parva loquor? m�l�s pulcherrima cael�
+      Ard�bit flamm�s t�ta repente su�s.
+    Omnia mors poscit. L�x est, n�n poena, per�re:
+      H�c aliqu� mundus tempore n�llus erit.
+
+_Terentia._ T�lis d�cl�m�ti� est facilis. Aud� quid d� ge�metri� tu�
+rel�tum sit. Ge�metria magis quam decl�m�ti� ostendit utrum t� mentem
+exerce�s.
+
+_M. Cic._ (continues reading). "Ge�metria _D_." Magister haec scripsit:
+"F�lius tuus d�cit ge�metriam �r�t�ribus in�tilem esse. E� d�ligenter
+dom� lab�randum est." ԠM�rce, h�c est incr�dibile! Num d�xist� t�
+ge�metriam �r�t�ribus in�tilem esse?
+
+_M. Cic. a._ �, studium ge�metriae mihi odi�sum ingr�tumque est! Omn�s
+puer�s ist�us taedet. Tant� n�n est!
+
+_M. Cic._ Etiam s� studium t� n�n am�s, ge�metriam discere d�b�s. Tibi
+centum s�sterti�s dab� s� summam notam in ge�metri� proxim� m�nse
+adeptus eris.
+
+_M. Cic. a._ (grasping his father's hand). Am� t�, pater, convenit!
+Eam adip�scar!
+
+_Terentia_ (to Anna). Estne toga par�ta?
+
+_Anna._ Par�ta est, domina.
+
+_Terentia._ H�c ven�, M�rce!
+
+_M. Cic. a._ � m�ter, tempus perdere n�l�. M�l� legere.
+
+_Terentia._ Quid d�cis? N�n v�s? N�nne v�s novam togam hab�re?
+
+_M. Cic. a._ N�l�. Nov� m� n�l opus est. Tam fessus sum! (Picks up a
+scroll and is about to take a seat in the corner.)
+
+_M. Cic._ Ad m�trem tuam, M�rce Cicer�, sine mor�, acc�de!
+
+  (Marcus is about to obey when a knock is heard at the door.
+  Lucius Piso Frugi and Quintus Hortensius enter at the left.)
+
+_M. Cic._ (greeting Q. Hortensius). � am�c�, salv�te! ut val�tis?
+
+_Terentia_ (greeting L. Piso). D� duint v�b�s quaecumque opt�tis.
+Cicer�n� modo d�c�bam n�s di� v�s n�n vid�re, praesertim t�, P�s�.
+M�rcipor, ubi est Tullia? E� d�c ut h�c veniat.
+
+_L. Piso._ N�l� Tulliam voc�re. Nunc cum parentibus Tulliae agere vol�,
+n�n cum Tulli� ips�.
+
+_Terentia._ N�n v�s nostram Tulliam vid�re! Quid, sc�re vol�?
+
+_L. Piso._ Cum e� h�c tempore agere n�n cupi�. Id propter quod in
+vestram domum hodi� v�n� tu�, et Cicer�nis r�fert. Velim v�b�scum agere
+pr� me� f�li�, G�i� P�s�ne, qu� f�liam tuam in m�trim�nium d�cere vult.
+
+_M. Cic._ Meam f�liam in m�trim�nium d�cere! Mea Tulliola n�ndum satis
+m�t�ra est ut n�bat. Mea f�lia mihi c�rior v�t� ips� est. Eam �mittere
+.�.�. id n�n ferre possum. Ea l�x nostra est. Me� Tulliol� nihil umquam
+am�bilius, nec long� v�t� ac prope immort�lit�te d�gnius v�d�. N�ndum
+ann�s quattuordecim impl�vit et iam �ius pr�dentia est m�r�bilis. Ut
+magistr�s amat! Quam intellegenter legit! N�n possum verb�s exprimere
+quant� vulnere anim� percutiar s� meam Tulliolam �mittam. Utinam penitus
+intelleger�s me�s s�ns�s, quanta v�s patern� sit am�ris.
+
+_L. Piso._ T�lia verba, M�rce Tull�, vir� R�m�n� n�n propria sunt.
+Necesse est omn�s nostr�s f�li�s in m�trim�nium d�mus. Nihil aliud
+exspect�.
+
+_Terentia._ Nostra f�lia omnibus gr�tissima est. Semper enim lepida et
+l�ber�lis est. Iam di� sci� n�s eam n�n semper retin�re posse.
+
+_L. Piso._ R�ct�, r�ct�! Meus f�lius bonus est; est �r�tor. Est quoque
+satis d�ves. R�mae du�s aed�s habet; r�re m�gnificentissima v�lla est
+e�. Cum ill� f�lia tua f�l�x erit. Id mihi persu�sum habe�. Quae cum ita
+sint, M�rce Tull�, sine d�te tuam f�liam me� f�li� posc�.
+
+_M. Cic._ Prohibeant d� immort�l�s condici�nem �ius mod�. Cum mea f�lia
+in m�trim�nium danda sit, n�minem c�gn�v� qu� ill� d�gnior sit quam tuus
+f�lius �gregius.
+
+_L. Piso_ (shaking hands with Cicero). � M�rce, m� am�ce, d� t�
+respiciant! Nunc mihi eundum est ut f�lium et s�gn�t�r�s arcessam et iam
+h�c revertar.
+
+  (Exeunt L. Piso and Q. Hortensius.)
+
+_Terentia._ D�c, M�rcipor, serv�s ut in cul�n� v�num, fr�ct�s, placent�s
+parent. (Exit Marcipor.) M�rce, f�l�, sor�rem voc�.
+
+_M. Cic. a._  Tullia, � Tullia,
+              Soror mea bella,
+              Am�t�res tibi sunt
+              P�s� et Dol�bella.
+
+  (Enter Tullia at the right.)
+
+              Amatne P�s� t�,
+              Etiam Dol�bella?
+              Tullia, � Tullia,
+              Soror mea bella,
+              P�s�nem tuum mar�tum fac;
+              N�n gr�tus Dol�bella.
+
+_Tullia._ � M�rce, tu� m� taedet. Quid est, m�ter?
+
+_Terentia._ Tullia, n�nne est G�ius P�s� tibi gr�tissimus?
+
+_Tullia._ �, mihi satis placet. C�r m� rog�s, m�ter?
+
+_Terentia._ Rog�, mea f�lia, quod P�s� t� in m�trim�nium d�cere vult.
+Tibi placetne h�c?
+
+_Tullia._ Mihi placet s�--
+
+_Terentia._ S�--quid, mea f�lia?
+
+_Tullia._ � m�ter, n�l� n�bere. Sum f�l�x t�cum et patre et M�rc�. V�x�
+tantum quattuordecim ann�s. Puella di�tius esse vol�, n�n m�ter
+famili�s.
+
+_Terentia._ P�s� d�ves est. Pater tuus n�n m�gn�s d�viti�s nunc habet.
+Meum argentum quoque c�ns�mptum est. Etiam haec domus nostra n�n di�tius
+erit. Quid faci�mus s� t� n�n bene n�b�s?
+
+_Tullia._ Sci� patrem meum n�n m�gn�s possessi�n�s hab�re; quid v�r�,
+m�ter? Serv�lia, L�cull� sp�nsa, qu� modo rediit spoli�s Orientis
+onustus, semper suam fort�nam queritur. Misera L�cullum �dit ac
+d�test�tur. Hestern� di� me�s auribus Serv�liam haec verba d�cere
+aud�v�: "M� miseram! �nf�l�cissimam v�tam! F�minam maestam! quid faciam?
+Mihi d�l�ctus est mar�tus �di�sus. N�m� rog�vit qu� vir mihi maxim�
+placeat. Coniugem novum �der�, id certum est. Prae lacrim�s n�n iam
+loqu� possum." Ԡm�ter! ego sum aequ� tr�stis ac Serv�lia. N�l� G�i�
+P�s�n� n�bere. N�ll� homin�, neque R�m�n� neque peregr�n�, quem v�derim,
+n�bere vol�.
+
+_Terentia._ Tullia, mea f�lia, m�tris et nostrae dom�s miser�re! Hodi�
+pater � m� argentum postul�bat quod e� dare n�n poteram. P�s� d�tissimus
+est et n�b�s auxili� esse potest. Parentum tu�rum caus� t� �r� n� hunc
+�gregium adul�scentem aspern�ris.
+
+_Tullia._ � Serv�liam et Tulliam, amb�s miser�s! Quid d�cis t�, m�
+pater? V�s t� quoque m� in m�trim�nium dare?
+
+_M. Cic._ � mea Tulliola, m� n�l� rog�re. Nesc�s quantum ego t� amem.
+Sine t� v�vere n�n poter�. Id mihi persu�sum habe�. Put� tamen, s� p�cem
+apud n�s hab�re vel�mus, t� m�tris iussa sequ� necesse esse.
+
+_Tullia._ Vol�, m� pater, t� p�cem hab�re. Tua v�ta tam perturb�ta fuit.
+N�bam, sed � m� miseram!
+
+  (A knock is heard. Enter from the left L. Piso, Gaius Piso, and the
+  _signatores_. They are greeted by Cicero and Terentia and seated
+  by slaves.)
+
+_Terentia_ (as she receives them). Multum salv�te, � am�c�. Tulliae vix
+persu�d�re poteram, tamen n�n iam inv�ta est.
+
+_L. Piso._ Bene, bene, h�c est mihi di�s gr�tissimus. Par�ta sunt omnia?
+
+_Terentia._ Omnia par�ta sunt, sed i�ris c�nsultus n�ndum v�nit.
+
+_L. Piso._ Ille quidem ad tempus adesse pollicitus est.
+
+_Terentia._ Id sp�r�. T�b�cin�s, M�rcipor, h�c arcesse. (Enter Q.
+Hortensius and his wife, together with the pronuba and the _iuris
+consultus_.) Salv�te, me� am�c�. Ads�dite s� placet.
+
+_Iuris con._ S� mihi veniam dabitis, n�n di� mor�r� velim. �nst�ns
+neg�tium m� in for� fl�gitat. Mihi m�t�randum est. (Goes to a table with
+M. Cicero and busies himself with the _tabulae nuptiales_.)
+
+_L. Piso._ M�t�r�mus! G�� et Tullia, ad m� ven�te! (To Cicero.)
+Spond�sne Tulliam, tuam f�liam, me� f�li� ux�rem dar�?
+
+_M. Cic._ D� bene vertant! Sponde�.
+
+_L. Piso._ D� bene vertant!
+
+_G. Piso_ (placing a ring on the fourth finger of Tullia's left hand).
+Hunc �nulum qu� meum longum am�rem test�tur aceipe. Manum, Tullia, tibi
+d�, et vim bracchi�rum et celerit�tem pedum et gl�riam me�rum patrum.
+T� am�, pulchra puella. T� �nam semper am�b�. Mihi es t� c�rior omnibus
+quae in terr� cael�que sunt. F�l�c�s semper s�mus!
+
+_Iuris con._ Tabulae n�pti�l�s sunt par�tae et ecce condici�n�s.
+(Reads.) "H�c di�, pr�di� �d�s Apr�l�s, ann� sescent�sim� n�n�g�sim�
+pr�m� post R�mam conditam, M. Tulli� Cicer�ne G�i� Ant�ni� c�nsulibus,
+ego M. Tullius Cicer� meam f�liam Tulliam G�i� Calpurni� L�c� f�li�
+P�s�n� sponde�. Eam cum d�te dare sponde�. Ea d�s erit qu�ndecim m�lia
+s�stertium." (Turning to Gaius.) G�� P�s�, spond�sne t� Tulliam semper
+am�t�rum cult�rumque?
+
+_Gr. Piso._ Id sponde�.
+
+_Iuris con._ Spond�sne t�, Tullia, t� G�i� P�s�n� semper obsecut�ram
+esse?
+
+_Tullia._ Id sponde�.
+
+_Iuris con._ (stamping the _tabulae_ with a seal). Nuc subscr�bite!
+T� pr�mus, Cicer�, deinde Terentia et Tullia et G�ius.
+
+  (The _tibicines_ play softly and the _servi_ pass wine, dried fruit,
+  and small cakes. Tullia, taking her glass of wine, steps forward
+  and pours a little out as an offering to the gods. After the
+  witnesses have signed in turn, the following words of
+  congratulation are spoken.)
+
+_Q. Hor._ Be�t� v�v�tis, P�s� et Tullia! Omn�s sp�ns� et sp�nsae sal�tem
+prop�n�mus! (All drink to the health of the betrothed.)
+
+_M. Cic. a._ Sint d� semper volent�s propiti�que ips�s domu�
+familiaeque. Sit v�b�s fort�na ben�gna!
+
+_M. Cic._ Tibi gr�tulor, P�s�. T� pulcherrimam et optimam puellam t�t�us
+R�mae adeptus�es.
+
+_Pronuba._ � fort�n�te adul�sc�ns qu� t�lem puellam inv�ner�s!
+
+_Iuris con._ S�gn�v�runtne omn�s? T�, Qu�nte Hort�ns�, n�ndum
+subscr�psist�.
+
+_Q. Hor._ Id statim faciam. (Signs.)
+
+_Pronuba._ Nunc omn�s cant�mus!
+
+  (All join in singing, accompanied by the _tibicines_.)
+
+  [Music:
+  Hespere, qui caelo fertur crudelior ignis?
+  Qui natam possis complexu avellere matris,
+  Complexu matris retinentem avellere natam
+  Et iuveni ardenti castam donare puellam.
+  Quid faciunt hostes capta crudelius urbe?
+  Hymen O Hymen�e, Hymen ades O Hymen�e.]
+
+
+SECUNDA SCAENA
+
+N�PTIAE
+
+  The house is adorned with wool, flowers, tapestry, and boughs.
+
+  The Pontifex Maximus (wearing a white fillet) and the Flamen Dialis
+  enter from opposite sides, each preceded by a lictor with fasces,
+  who remains standing at the side of the stage, while the priests
+  pass on to the altar. The Flamen burns incense. A�slave brings in a
+  pigeon on a silver tray and hands it to the Flamen, while another
+  hands to the Pontifex from a basket a plate of meal and one with
+  crackers.
+
+  The priests, taking respectively the bird and the meal, hold them
+  high above their heads and look up devoutly, after which the bridal
+  party enters, from the left, in the following order:
+
+  The bride, preceded by the pronuba, comes first. Both take their
+  places, standing at the right of the altar; next the groom, preceded
+  by the boys, takes his stand near the bride, a�little to the left;
+  the guests follow and are seated.
+
+  Cicero hands wine to the priests, with which they sprinkle the
+  sacrifices.
+
+  As the Flamen again looks up and raises his hands above his head,
+  all kneel except the priests and lictors, while he pronounces the
+  following solemn words:
+
+Auspicia secunda sunt. M�gna gr�tia d�s immort�libus habenda est.
+Auspicia secunda sunt.
+
+  After all have risen, the pronuba, placing her hands upon the
+  shoulder of the bride and groom, conducts them to the front of the
+  altar. There she joins their hands and they walk around the altar
+  twice, hand in hand, stopping in front when the ceremony proper
+  begins.
+
+  Again the Flamen says:
+
+Auspicia secunda sunt.
+
+  The Pontifex hands the groom a cracker, of which he partakes,
+  passing it on to the bride. The pronuba puts back the veil, and
+  after the bride has eaten the cracker she says to the groom:
+
+Ubi t� G�ius, ego G�ia.
+
+  Both are then conducted by the pronuba to two chairs, placed side by
+  side, at the right of the altar, covered with the skin of a sheep.
+  They face the altar and the pronuba covers their heads with a large
+  veil. (Place the same veil over both.)
+
+_Pontifex Maximus_ (making an offering of meal to Jupiter).
+
+    Iuppiter omnipot�ns d�vum pater atque hominum r�x,
+    H�s sp�ns�s bene respici�s, fave�sque per ann�s.
+    Iuppiter omnipot�ns, precibus s� flecteris �ll�s
+    Aspice e�s, h�c tantum, et s� piet�te merentur,
+    D� cursum v�tae i�cundum et commoda sparge
+    Multa man� pl�n�; v�r�s valid�sque per mens�s
+    H� habeant, puer�s pulchr�s fort�sque nep�t�s.
+    R�bus i�cund�s quibus ads�s Iuppiter semper.
+
+_Flamen Dialis._
+
+    I�n� quae inc�dis d�vum r�g�na Iovisque
+    Coniunx et soror, h�s sp�ns�s serv� atque tu�re.
+    Sint et f�l�c�s, fort�s, piet�te supr�m�;
+    M�gn� cum virt�te inc�dant omnibus ann�s,
+    Semper fort�n�t�, semper et usque be�t�.
+
+  (The pronuba now uncovers the heads of the wedded pair and they
+  receive congratulations.)
+
+_L. Piso._ Be�t� v�v�tis, G�� et Tullia!
+
+_Terentia._ V�b�s sint d� semper faust�!
+
+_M. Cic. a._ V�b�s amb�bus gr�tulor. Sed n�lla r�s levis est
+m�trim�nium. Quid, Tullia?
+
+_Tullia._ R�ct� d�cis, fr�ter, m�trim�nium n�n in lev� habendum est.
+
+_M. Cic._ Sint omn�s di�s f�l�c�s aequ� ac h�c di�s.
+
+_Pronuba._ Sp�r�, me� am�c�, omn�s di�s v�b�s laetissim�s fut�r�s esse.
+
+  (The curtain falls. The priests and lictors retire, all the rest,
+  except Terentia and Tullia, keeping the same position for the next
+  scene.)
+
+
+SCAENA TERTIA
+
+D�DUCTI�
+
+  The guests are sitting about the room. The bride is sitting on her
+  mother's lap. Her wedding ornaments have been taken off and she is
+  closely veiled. The groom takes her as if by force from her mother's
+  arms.
+
+_Tullia._ � m�ter, m�ter, n�l� � t� et patre me� disc�dere. �, m�
+miseram!
+
+_Terentia._ �, f�lia, �! Saepe tu�s parent�s et fr�trem v�sere poteris.
+Necesse est nunc cum mar�t� e�s.
+
+_G. Piso._ Mihi, Tullia, c�rior v�t� es. T� n�n pig�bit coniugem meam
+fier�. Id polliceor. M�cum ven�, Tullia c�rissima!
+
+_Tullia._ S�c est�. Prius must�ceum edendum est. (She cuts the wedding
+cake and all partake.)
+
+_L. Pisonis uxor._ H�c must�ceum optimum est. H�c f�cist�ne t�, Tullia?
+
+_Tullia._ Nihil temporis hab�bam qu� must�ceum facerem. Multa mihi �n�
+tempore agenda erant.
+
+_Terentia._ Tullia must�ceum facere potest s� spatium datur.
+
+_M. Cic. a._ (taking another piece of cake). Tullia est d�liciae
+puellae. S� �num modo must�ceum hab�mus, ad novam domum Tulliae
+profic�sc�mur.
+
+(Others cry out) E�mus!
+
+  The curtain falls. A frame to represent the door of a Roman house is
+  placed to the left of the stage; a�small altar stands at the right:
+  a�circular piece of wood with holes bored in it as a receptacle for
+  the torches (common wax candles) is placed on top of the altar used
+  by the priests. The procession to the groom's house advances from
+  the left in the following order:
+
+  The flute-players first, followed by a lad carrying a torch and
+  vase; next the bride, supported on either side by a boy; the groom,
+  throwing nuts to those in the street, walks at the side; a�boy
+  follows, carrying the bride's spindle; the others follow, two by
+  two, all carrying torches and singing:
+
+    Hespere, qu� cael� fertur cr�d�lior �gnis?
+    Qu� n�tam poss�s complex� �vellere m�tris,
+    Complex� m�tris retinentem �vellere n�tam
+    Et iuven� �rdent� castam d�n�re puellam.
+    Quid faciunt host�s capt� cr�d�lius urbe?
+    H�m�n � Hymenaee, H�m�n ades � Hymenaee.
+
+  When the groom's house is reached, the bride winds the door posts
+  with woolen bands and anoints them with oil to signify health and
+  plenty. She is then lifted over the threshold by two boys to prevent
+  possible stumbling. The groom, Cicero, Terentia, L. Piso and his
+  wife, enter the house and place their torches on the altar; the
+  others remain standing outside. All continue singing, accompanied by
+  the flute-players, until after the groom hands to the bride a dish,
+  on which incense is burning, and a bowl of water, which both touch
+  in token of mutual purity, and Tullia again repeats the words:
+
+Ubi t� G�ius, ego G�ia.
+
+_G. Piso_ (presenting to her the keys, which she fastens in her girdle).
+Sit f�l�x nostra v�ta! Cl�v�s meae dom�s, mea uxor, accipe!
+
+  Tullia kindles the fire on the altar with her torch, and then throws
+  it to a girl outside. The girl who catches the torch exclaims:
+
+�, m� f�licissimam! proxima Tulliae n�bam.
+
+  (Tullia kneels at the altar and offers prayer to Juno.)
+
+    I�n�, es auctor m�nerum,
+    I�n�, m�ter omnium,
+    N�b�s d� nunc gaudium.
+    I�n�, adi�tr�x es hominum,
+    I�n�, summa caelitum,
+    N�bis s�s auxilium.
+
+
+
+
+  [Illustration: ROMAN MARRIAGE]
+
+COSTUMES AND SUGGESTIONS
+
+
+The bride wears a white dress trimmed with purple fringe, a girdle of
+crimson wool, and a long yellow veil. She has on many bright-colored
+ribbons, many bracelets and rings, and high yellow shoes with buckles.
+Her hair is arranged in six locks parted by the point of a spear and
+held in place by _vittae_ or bands.
+
+The Pontifex should have a band of purple three inches wide around the
+bottom of his toga.
+
+The boys should wear straight robes reaching to the knee and gathered at
+the shoulders. The garb of the statue "Diana of the Hind" is a good
+illustration.
+
+The slaves wear bright-colored tunics reaching to the knees.
+
+Valuable suggestions may be found in Johnston's "Private Life of the
+Romans," "Harper's Dictionary of Classical Antiquities," and _Harper's
+Magazine_, Vol.�46.
+
+The individual parts should be thoroughly learned and practiced before a
+full rehearsal is attempted.
+
+Especial emphasis should be placed upon the necessity of reciting the
+parts slowly and distinctly.
+
+The signing of the _tabulae nuptiales_ was a part of the _nuptiae_, but
+it has been introduced during the _sponsalia_ to give better balance to
+the play. Wherever permissible, very simple Latin has been used in order
+to render the task of memorizing as easy as possible.
+
+
+SCENE I
+
+SPONSALIA--BETROTHAL
+
+Cicero's house. Terentia complains that Cicero neglects her and that he
+devotes too much time to the prosecution of Catiline and to study. The
+school report (renuntiatio) of her son, the young Cicero, also causes
+her anxiety. Marcus junior adds to her anxiety by affirming that he
+wishes to become an orator like his father. He promises, however, that
+he will study his geometry more diligently and thereby gain the reward
+offered by Cicero. Lucius Piso calls at Cicero's home to ask the hand of
+Tullia for his son Gaius Piso. Terentia is pleased with the prospect of
+marrying her daughter so well. Tullia herself and Cicero prefer to wait
+until Tullia is older. Tullia says she can sympathize with Servilia and
+others who have no girlhood on account of marrying so young; but finally
+she yields to her mother's wish and consents to become betrothed to
+Gaius. The witnesses arrive and the betrothal (sponsalia) takes place.
+The marriage contract (tabulae nuptiales) is signed, showing the amount
+of dowry. Refreshments are partaken of, following a libation in honor of
+the gods. Congratulations are offered and the wedding hymn is sung.
+
+
+SCENE II
+
+NUPTIAE--WEDDING CEREMONY
+
+The auspices are taken and pronounced favorable. The groom and bride
+assume the names of Gaius and Gaia, respectively. These particular names
+were chosen, according to some, out of respect to the noted spinner
+Gaius and his royal wife, who were held by the Romans as a pattern of
+conjugal fidelity and skilled industry; according to others, because of
+the derivation from _gaudere_. Tullia with the words "Ubi tu Gaius, ego
+Gaia" (where you are Gaius, I�am Gaia) signifies her willingness to
+enter the gens of her husband. The eating of the cake presented by the
+Pontifex (confarreatio) is the most important part of the ceremony,
+suggesting the sacramental view of marriage. The skin upon which the
+bride and groom are seated is supposed to be that of the sheep
+sacrificed before the ceremony begins. Prayer is offered to Jupiter by
+the Pontifex, and to Juno by the Flamen Dialis, after which
+congratulations are offered.
+
+
+SCENE III
+
+DEDUCTIO--PROCESSION TO THE GROOM'S HOUSE
+
+The bride is taken, to all appearances, by force from her mother's
+embrace,--a survival of the marriage by capture, or, as the Romans
+themselves put it, a�reminiscence of the Sabine marriage. The
+_mustaceum_, or wedding cake, is eaten, and the procession begins,
+all singing the wedding hymn. The groom throws nuts to the boys in the
+street as a sign that he will now put away childish things. Arriving at
+the groom's house, the bride anoints the doorposts with oil to signify
+health and plenty, and then offers a prayer for future happiness.
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+
+Errata
+
+Variation between "�" and "ae" is unchanged, including the spelling of
+"Dr�matis Pers�n�" or "-ae". Note that the name is consistently "C�sar"
+in English, "Caesar" in Latin.
+
+  ... the writer's aim will be / accomplished
+    [_lack of closing punctuation may be intentional_]
+
+  _Gn. Pom._ I�ann�s, I�ann�s, t�b�cine n�tus  [I�ann�s, Ioann�s]
+  Portae n�n gehennae  [non]
+  When nox gives way to l�x of morning  [lux]
+
+  Lege, Philot�me, omnia fragmenta.  [fr�gmenta]
+  T� n�n pig�bit coniugem  [non]
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Two Latin Plays for High-School
+Students, by Susan Paxson
+
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+<pre>
+
+Project Gutenberg's Two Latin Plays for High-School Students, by Susan Paxson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Two Latin Plays for High-School Students
+
+Author: Susan Paxson
+
+Release Date: April 5, 2010 [EBook #31894]
+
+Language: Latin
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TWO LATIN PLAYS ***
+
+
+
+
+Produced by Louise Hope, David Starner, Chuck Greif and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class = "mynote">
+<p><a name = "start" id = "start">This text</a> includes characters that
+require UTF-8 (Unicode) file encoding:</p>
+
+<p class = "inset">
+Ā Ē Ī Ō Ū &nbsp; (vowels with macron or “long“ mark; ȳ is rare)<br>
+ā ē ī ō ū ȳ</p>
+
+<p>If any of these characters do not display properly&mdash;in
+particular, if the diacritic does not appear directly above the
+letter&mdash;or if the apostrophes and quotation marks in this paragraph
+appear as garbage, you may have an incompatible browser or unavailable
+fonts. First, make sure that the browser’s “character set” or “file
+encoding” is set to Unicode (UTF-8). You may also need to change your
+browser’s default font.</p>
+
+<p>The “Roman Wedding” play includes a <a href = "#song">musical
+selection</a> with link to MIDI (sound) file. Depending on your browser,
+it may open directly or may need to be downloaded for listening in a
+different program. In addition to the sound and pictures, the Music
+directory includes the original music in lilypond (<tt>.ly</tt>) format,
+which can be converted to a number of other music-editing
+applications.</p>
+
+<p>Typographical errors are shown in the text with <ins class =
+"correction" title = "like this">mouse-hover popups</ins>. Variation
+between “æ” and “ae” is unchanged, including the spelling of
+“Drāmatis Persōnæ” or “-ae”. Note that the name is consistently “Cæsar”
+in English, “Caesar” in Latin.</p>
+
+<p class = "center">
+<a href = "#contents">Contents</a><br>
+<a href = "#intro">Introduction</a><br>
+<a href = "#school">A Roman School</a><br>
+<a href = "#wedding">A Roman Wedding</a></p>
+
+</div>
+
+<div class = "page">
+
+<h1>TWO LATIN PLAYS FOR<br>
+HIGH-SCHOOL STUDENTS</h1>
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<h6>BY</h6>
+
+<h4>SUSAN PAXSON</h4>
+
+<h6>INSTRUCTOR IN LATIN IN THE OMAHA HIGH SCHOOL</h6>
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<h5>GINN AND COMPANY</h5>
+<h6>BOSTON · NEW YORK · CHICAGO · LONDON<br>
+ATLANTA · DALLAS · COLUMBUS · SAN FRANCISCO</h6>
+
+</div>
+
+<h6>COPYRIGHT, 1911, BY SUSAN PAXSON<br>
+ALL RIGHTS RESERVED<br>
+522.10</h6>
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<h6 class = "script">The Athenæum Press</h6>
+
+<hr class = "close">
+
+<h6>GINN AND COMPANY · PROPRIETORS<br>
+· BOSTON · U.S.A.</h6>
+
+<div class = "page">
+
+<span class = "pagenum">iii</span>
+
+<h5><i>CUI BONO?</i></h5>
+
+<p class = "center">
+<i>If this little entertainment shall give pleasure and<br>
+be of profit to any who have set out on their<br>
+toilsome journey into the realm of Latin<br>
+Literature, the writer’s aim will<br>
+be accomplished<ins class = "correction"
+title = "lack of punctuation may be intentional">&nbsp;&nbsp;</ins></i></p>
+
+</div>
+
+<!-- iv -->
+
+<div class = "maintext">
+
+<span class = "pagenum">v</span>
+<h4>PREFATORY NOTE</h4>
+
+<p>I am greatly indebted to Mrs. C. H. Beeson and to Professor Frank J.
+Miller, of the University of Chicago. To the former, for her most
+scholarly and generous assistance in the correcting of the manuscript
+and for her many valuable suggestions throughout the work; to the
+latter, for his painstaking reading of the proof and for his kindly and
+helpful interest. In fact, it was largely due to the helpful uplift that
+came to some of my advanced classes, as well as to myself, from the
+presentation of Professor Miller’s “Dramatizations from Vergil” that
+these little plays were written.</p>
+
+<p class = "right">
+<span class = "smaller">SUSAN PAXSON</span></p>
+
+
+<!-- vi -->
+
+
+<span class = "pagenum">vii</span>
+
+<h3><a name = "contents" id = "contents">CONTENTS</a></h3>
+
+<table class = "toc" summary = "table of contents">
+<tr>
+<td class = "right smallroman" colspan = "2">PAGE</td>
+</tr>
+<tr>
+<td class = "dots">
+<span class = "smallcaps opaque">Introduction</span></td>
+<td class = "number"><a href = "#intro">ix</a></td>
+</tr>
+<tr>
+<td class = "dots">
+<span class = "smallcaps opaque">A Roman School</span></td>
+<td class = "number"><a href = "#school">1</a></td>
+</tr>
+<tr>
+<td class = "dots">
+<span class = "smallcaps opaque">&emsp; &emsp; Costumes</span></td>
+<td class = "number"><a href = "#school_costumes">16</a></td>
+</tr>
+<tr>
+<td class = "dots">
+<span class = "smallcaps opaque">A Roman Wedding</span></td>
+<td class = "number"><a href = "#wedding">19</a></td>
+</tr>
+<tr>
+<td class = "dots">
+<span class = "smallcaps opaque">&emsp; &emsp; Costumes and
+Suggestions</span></td>
+<td class = "number"><a href = "#wedding_costumes">37</a></td>
+</tr>
+</table>
+
+<!-- viii -->
+
+
+<span class = "pagenum">ix</span>
+<h3><a name = "intro" id = "intro">INTRODUCTION</a></h3>
+
+
+<p>In response to the invitation of the author and publishers, I&nbsp;am
+glad to stand godfather to this little book of original Latin plays.
+They are the product of an enthusiastic teacher coöperating with
+students whom she has, in part by this means, inspired with a genuine
+interest in Roman life and its expression in the Latin tongue. They
+offer a helpful contribution to the solution of the ever-present and
+vexing problem which teachers of Latin in secondary schools are meeting:
+How can we make this Latin <i>interesting</i> to our pupils? How can we
+compete with departments which more easily hold the pupils’ interest
+because their subject matter touches more nearly the various phases of
+modern life? It is, indeed, true that any subject well taught by a live
+teacher will interest pupils. But, even where this condition is
+realized, the need is being felt more and more of something which will
+vary the deadly monotony incident to the learning of the technique of a
+language, especially one which makes its appeal largely to the eye alone
+through the medium of the printed page.</p>
+
+<p>It is one of the most encouraging features of our present-day
+classical work that teachers more and more are inventing ways of
+vitalizing their teaching without weakening it. For this must always be
+borne in mind: that we are not seeking to gain mere <i>interest</i>.
+What we
+<span class = "pagenum">x</span>
+want is interest in <i>Latin</i>. We want our students to be so
+interested that they will cheerfully endure all the hardships incident
+to this study because they have discovered that it is worth while in
+itself, because it has come to mean something to them, because it
+actually touches their own lives.</p>
+
+<p>If the reader will scan the department of “Current Events” in the
+present volume of the <i>Classical Journal</i>, he will find many
+indications of this new spirit among classical teachers in the schools.
+Thus we find a Latin club in a high school in Columbus, Ohio, giving,
+among other activities, an exhibition of a Roman <i>triclinium</i>, in
+which the whole scene was enacted as nearly as possible in the Roman
+fashion, accompanied by Latin songs. And thus the pupils were made to
+realize that the Roman’s life was not entirely one of warfare, but that
+he ate, drank, and acted as a real human being. In Kansas,
+a&nbsp;classical club was recently organized by the students of Hiawatha
+Academy, whose program consists of talks on classical subjects and Latin
+songs, followed by a social hour enlivened by Latin games. In Lincoln,
+Nebraska, a&nbsp;live Latin club has originated in an exceptionally
+strong Cæsar class. They call themselves the <i>Legio Decima</i>,
+because they scorn “anything that has to do with cavalry”! Their program
+abounds in live topics connected with the Latin work and unique
+representations of Roman life.</p>
+
+<p>But the greatest success seems to have been gained through the
+dramatic presentation of matter pertinent to the students’ work. We read
+of a spirited entertainment by the students of a Seattle high school, in
+which were given scenes from the “Menaechmi” of Plautus, together
+<span class = "pagenum">xi</span>
+with the singing of several odes of Horace which had been set to
+appropriate music. Others have attempted a play of Terence. Scores of
+schools have presented dramatized scenes from Vergil; and we read of a
+school in Georgia where Horace’s ninth satire, itself a complete little
+drama as it stands, was played by the students. In the same school
+portions of Cæsar were dramatized and acted; and a dramatization based
+on the conspiracy of Catiline was recently sent to me from a school in
+Indiana.</p>
+
+<p>From all these and many other points it is reported that great
+interest is aroused among the students, primarily in the fact and
+production of the play itself, but resulting also in a permanent
+interest in the more serious and regular work of the Latin class. The
+author of the plays presented in this book has herself already reaped
+rich rewards of her work in the continued zeal of her students for their
+Latin study after they have passed on to college. She writes that the
+boy who played “Cicero” in the wedding last year is now a freshman in an
+eastern college, and still finds Latin the work of his greatest interest
+and success; and the girl who was “Tullia” in the play is also a
+freshman in college, with zeal and courage enough to attempt the
+composition of Latin hymns.</p>
+
+<p>The difficulty heretofore felt by teachers and their Latin clubs has
+been in finding appropriate plays in Latin simple enough for their
+pupils to master without undue hardship, and appealing strongly in their
+subject matter to the young student; and I feel sure that in these two
+plays, “A&nbsp;Roman School” and “A&nbsp;Roman
+<span class = "pagenum">xii</span>
+Wedding,” will be found just the material which has been sought. Aside
+from the awakened interest of the student and the vivid impression which
+his mind will receive of these two important phases of Roman life, who
+can estimate the actual gain in the acquisition of the Latin language
+itself, which will come not alone to those students who are fortunate
+enough to take part in these plays, but to those as well who listen to
+the rehearsals and to the final production?</p>
+
+<p>I therefore most cordially commend these plays to all teachers of
+Latin, and urge that they be presented in the schools each year wherever
+possible.</p>
+
+<p class = "right">FRANK JUSTUS MILLER</p>
+
+<p><span class = "smallcaps smaller">The University of
+Chicago</span></p>
+
+
+<a name = "school" id = "school">&nbsp;</a>
+
+<hr class = "small">
+<hr class = "mid">
+<hr class = "small">
+
+<div class = "page">
+
+<span class = "pagenum">1</span>
+<h2>A ROMAN SCHOOL</h2>
+
+<h4>90 B.C.</h4>
+
+</div>
+
+<hr class = "small">
+<hr class = "mid">
+<hr class = "small">
+
+
+<span class = "pagenum">2</span>
+
+<table class = "personae" summary = "cast of characters">
+<tr>
+<td colspan = "2">
+<h5>DRĀMATIS PERSŌNAE</h5>
+</td>
+</tr>
+<tr>
+<td>Magister<br>
+Servī<br>
+Paedagōgus</td>
+<td></td>
+</tr>
+<tr>
+<td>Aulus Licinius Archiās<br>
+Pūblius Licinius Crassus</td>
+<td class = "bracket">
+<i>iūdicēs</i></td>
+</tr>
+<tr>
+<td colspan = "2">
+Gāius Licinius Crassus, <i>adulēscēns</i></td>
+</tr>
+<tr>
+<td>&nbsp;<br>
+<i>Discipulī</i></td>
+<td></td>
+</tr>
+<tr>
+<td class = "inset" colspan = "2">
+Mārcus Tullius Cicerō<br>
+Quīntus Tullius Cicerō<br>
+Lūcius Sergius Catilīna<br>
+Mārcus Antōnius<br>
+Gāius Iūlius Caesar<br>
+Appius Claudius Caecus<br>
+Gnaeus Pompēius<br>
+Pūblius Clōdius Pulcher<br>
+Mārcus Iūnius Brūtus<br>
+Quīntus Hortēnsius Hortalus<br>
+Lūcius Licinius Lūcullus<br>
+Gāius Claudius Mārcellus<br>
+Mārcus Claudius Mārcellus
+</td>
+</tr>
+</table>
+
+
+<span class = "pagenum">3</span>
+<h3>A ROMAN SCHOOL</h3>
+
+
+<p class = "scenedesc">
+When the curtain is drawn, plain wooden benches are seen arranged in
+order on the stage. Two boys stand at the blackboard, playing “odd or
+even”; two others are noisily playing <i>nuces</i><a class = "tag" name
+= "tag1" id = "tag1" href = "#note1">1</a>; one is playing with a top,
+another is rolling a hoop, and a third is drawing a little toy cart.
+Three boys in the foreground are playing ball. They are Quintus Cicero,
+Marcus Cicero, and Marcus Antonius. With their conversation the scene
+begins.</p>
+
+<p><span class = "speaker">Q. Cic.</span>
+Mihi pilam dā!</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Ō, dā locum meliōribus!</p>
+
+<p><span class = "speaker">M. Ant.</span>
+Tū, Mārce, pilam nōn rēctē remittis. Oportet altius iacere.</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Iam satis alta erit. Hanc excipe!</p>
+
+<p class = "stagedir">
+(Tosses the ball very high.)</p>
+
+<p><span class = "speaker">M. Mar.</span>
+<span class = "stagedir">(going up to L. Lucullus who has the
+cart).</span> Mihi plōstellum&nbsp;dā.</p>
+
+<p><span class = "speaker">L. Luc.</span>
+Nōn, hōc plōstellum est meum. Sī tū plōstellum cupis, domum reversus
+inde pete.</p>
+
+<p><span class = "speaker">M. Mar.</span>
+<!-- whining --> Mihi tū nōn grātus es, Lūcī Lūculle.</p>
+
+<p class = "stagedir">
+(The <i>Magister</i> enters and loudly calls the roll, those present
+answering <i>adsum</i>.)</p>
+
+<p class = "speaker">Mag.</p>
+
+<p class = "verse one">
+Mārcus Tullius Cicerō.<br>
+Quīntus Tullius Cicerō.<br>
+<span class = "pagenum">4</span>
+Lūcius Sergius Catilīna.</p>
+
+<p class = "stagedir">
+(Catilina is absent and all shout <i>abest</i>.)</p>
+
+<p class = "verse one">
+Mārcus Antōnius.<br>
+Gāius Claudius Mārcellus.<br>
+Gāius Iūlius Caesar.<br>
+Appius Claudius Caecus.</p>
+
+<p class = "stagedir">
+(Appius is absent and all again shout <i>abest</i>.)</p>
+
+<p class = "verse one">
+Lūcius Licinius Lūcullus.<br>
+Gnaeus Pompēius.<br>
+Pūblius Clōdius Pulcher.<br>
+Mārcus Iūnius Brūtus.<br>
+Quīntus Hortēnsius Hortalus.<br>
+Mārcus Claudius Mārcellus.</p>
+
+<p>Nunc, puerī, percipite, quaesō, dīligenter, quae dīcam, et ea penitus
+animīs vestrīs mentibusque mandāte. Sine morā respondēte. <span class =
+"stagedir">(Writes on the board the sentence “Omnīs rēs dī
+regunt.”)</span> Nōmen <i>dī</i>, Mārce Cicerō, dēscrībe.</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Dī est nōmen, est dēclīnātiōnis secundae, generis masculīnī, numerī
+plūrālis, cāsūs nōminātīvī, ex rēgulā prīmā, quae dīcit: Nōmen quod
+subiectum verbī est, in cāsū nōminātīvō pōnitur.</p>
+
+<p><span class = "speaker">Mag.</span>
+Bene, Mārce, bene! Ōlim eris tū māgnus vir, eris cōnsul, eris ōrātor
+clārissimus, quod tam dīligēns es. Quīnte Cicerō! <span class =
+"stagedir">(Enter Catilina late. He is accompanied by a
+<i>paedagogus</i> carrying a bag with <i>tabellae</i>.)</span> Ō puer
+piger, homō perditissimus eris. Quō usque tandem abūtēre, Catilīna,
+patientiā nostrā? <!-- hahahahaha --> Vāpulābis.</p>
+
+<p><span class = "speaker">L. Cat.</span>
+Ō magister, mihi parce, frūgī erō, frūgī erō.</p>
+
+<p><span class = "speaker">Mag.</span>
+Catilīna, mōre et exemplō populī Rōmānī, <!-- pour encourager les autres
+--> tibi nūllō modō parcere possum. Accēdite, servī! <span class =
+"stagedir">(Enter two <i>servi</i>, one of whom takes Catilina by the
+head, the other by the
+<span class = "pagenum">5</span>
+feet, while the <i>magister</i> pretends to flog him severely, and then
+resumes the lesson.<a class = "tag" name = "tag2" id = "tag2" href =
+"#note2">2</a>)</span> Pergite, puerī. Quīnte Cicerō, verbum
+<i>regunt</i> dēscrībe.</p>
+
+<p><span class = "speaker">Q. Cic.</span>
+<span class = "stagedir">(hesitatingly).</span> <i>Regunt</i> est
+verbum. Est coniugātiōnis secundae, coniugātiōnis secundae,
+coniugātiōnis se&nbsp;.&nbsp;.&nbsp;.</p>
+
+<p><span class = "speaker">Mag.</span>
+Male, Quīnte. Tū es minus dīligēns frātre tuō Mārcō. Nescīs quantum mē
+hūius negōtī taedeat. Sī pēnsum crās nōn cōnfēceris, est mihi in animō
+ad tuum patrem scrībere. Haec nīl iocor. Tuam nēquitiam nōn diūtius
+feram, nōn patiar, nōn sinam.</p>
+
+<p><span class = "speaker">Q. Cic.</span>
+Ō dī immortālēs, tālem āvertite cāsum et servāte piōs puerōs, quamquam
+pigrī sunt.</p>
+
+<p><span class = "speaker">Mag.</span>
+Quīnte Hortēnsī, verbum <i>regunt</i> dēscrībe.</p>
+
+<p><span class = "speaker">Q. Hor.</span>
+<i>Regunt</i> est verbum; praesēns est <i>regō</i>; īnfīnītīvus,
+<i>regere</i>; perfectum, <i>rēxī</i>; supīnum, <i>rēctum</i>. Est
+coniugātiōnis tertiae, generis actīvī, modī indicātīvī.</p>
+
+<p><span class = "speaker">Mag.</span>
+Rēctē, rēctē, Quīnte! Bonus puer es. Gnaeī Pompēī, perge.</p>
+
+<p><span class = "speaker">Gn. Pom.</span>
+<span class = "stagedir">(crying).</span> Nōn pergere possum.</p>
+
+<p><span class = "speaker">Mag.</span>
+Ō puer parve, pergere potes. Hanc placentam accipe. Iam perge.</p>
+
+<p><span class = "speaker">Gn. Pom.</span>
+<span class = "stagedir">(taking the little cake and eating it).</span>
+<i>Regunt</i> temporis praesentis est; persōnae tertiae; numerī plūrālis
+nōmen sequēns, ex rēgulā secundā, quae dīcit: Verbum persōnam numerumque
+nōminis sequitur.</p>
+
+<p><span class = "speaker">Mag.</span>
+Rēctē! Nōnne tibi dīxī tē rem expōnere posse? Nihil agis, Gnaeī Pompēī,
+nihil mōlīris, nihil cōgitās, quod nōn ego nōn modo audiam, sed etiam
+videam plānēque sentiam. Gāī Mārcelle, tempus futūrum flecte.</p>
+
+<span class = "pagenum">6</span>
+<p><span class = "speaker">G. Mar.</span>
+<i>Regam</i>, <i>regēs</i>, <i>reget</i>, <i>regēmus</i>,
+<i>regētis</i>, <i>regent</i>.</p>
+
+<p><span class = "speaker">Mag.</span>
+Quae pars ōrātiōnis est <i>omnīs</i>, Gāī?</p>
+
+<p><span class = "speaker">G. Mar.</span>
+<i>Omnīs</i> est adiectīvum.</p>
+
+<p><span class = "speaker">Mag.</span>
+Rēctē; estne <i>omnīs</i> dēclīnābile an indēclīnābile, Pūblī
+Pulcher?</p>
+
+<p><span class = "speaker">P. Pul.</span>
+<i>Omnīs</i> est dēclīnābile, <i>omnis</i>, <i>omne</i>.</p>
+
+<p><span class = "speaker">Mag.</span>
+In quō cāsū est <i>omnīs</i>, Mārce Brūte?</p>
+
+<p><span class = "speaker">M. Bru.</span>
+<i>Omnīs</i> est cāsūs accūsātīvī ex rēgulā quae dīcit: Nōmen adiectīvum
+cāsum et genus nōminis substantīvī sequitur.</p>
+
+<p><span class = "speaker">Mag.</span>
+Cūius dēclīnātiōnis est <i>omnīs</i>, Mārce Mārcelle?</p>
+
+<p><span class = "speaker">M. Mar.</span>
+<i>Omnīs</i> est dēclīnātiōnis tertiae.</p>
+
+<p><span class = "speaker">Mag.</span>
+Potesne omnīs dēclīnāre?</p>
+
+<p><span class = "speaker">M. Mar.</span>
+Oppidō, magister, auscultā. <span class = "stagedir">(Declines
+<i>omnis</i>.)</span></p>
+
+<p><span class = "speaker">Mag.</span>
+Mārcus Claudius, suō mōre, optimē fēcit. Quam cōnstrūctiōnem habet
+<i>rēs</i>, Mārce Brūte?</p>
+
+<p><span class = "speaker">M. Bru.</span>
+<i>Rēs</i> est nōmen cāsūs accūsātīvī, quod obiectum verbī <i>regunt</i>
+est. <span class = "stagedir">(Enter Appius Caecus late. His
+<i>paedagogus</i> accompanies him.)</span></p>
+
+<p><span class = "speaker">Paed.</span>
+Magister, Appius Claudius hodiē māne aeger est, idcircō tardē venit.
+<span class = "stagedir">(Exit.)</span></p>
+
+<p><span class = "speaker">Mag.</span>
+Poenās dā, “Micā, Micā,” recitā.</p>
+
+<p class = "speaker">App. Caec.</p>
+
+<p class = "verse two">
+Micā, micā, parva stella,<br>
+Mīror quaenam sīs, tam bella!<br>
+Splendēns ēminus in illō<br>
+Alba velut gemma caelō.</p>
+
+<p class = "verse two">
+Quandō fervēns Sōl discessit,<br>
+Nec calōre prāta pāscit,<br>
+Mox ostendis lūmen pūrum<br>
+Micāns, micāns per obscūrum.</p>
+
+<p><span class = "speaker">Mag.</span>
+Quis alius recitāre potest?</p>
+
+<p><span class = "speaker">All</span>
+<span class = "stagedir">(shouting).</span> Ego possum, ego possum.</p>
+
+<span class = "pagenum">7</span>
+
+<p><span class = "speaker">Mag.</span>
+Bene; Mārce Antōnī, recitā.</p>
+
+<p class = "speaker">M. Ant.</p>
+
+<p class = "verse two">
+Trēs philosophī dē Tusculō<br>
+Mare nāvigārunt vāsculō;<br>
+Sī vās fuisset tūtius<br>
+Tibi canerem diūtius.</p>
+
+<p><span class = "speaker">Others</span>
+<span class = "stagedir">(shouting).</span> Mihi recitāre liceat.</p>
+
+<p><span class = "speaker">Mag.</span>
+Recitā, Gnaeī Pompēī.</p>
+
+<p class = "speaker">Gn. Pom.</p>
+
+<p class = "verse two">
+Iōannēs, <ins class = "correction"
+title = "text reads ‘Ioannēs’">Iōannēs</ins>, tībīcine nātus,<br>
+Fūgit perniciter porcum fūrātus.<br>
+Sed porcus vorātus, Iōannēs dēlātus,<br>
+Et plōrāns per viās it fūr, flagellātus.</p>
+
+<p><span class = "speaker">M. Bru.</span>
+<span class = "stagedir">(holding up his hand).</span> Novum carmen ego
+possum recitāre.</p>
+
+<p><span class = "speaker">Mag.</span>
+Et tū, Brūte! Perge! <!-- hahaha --></p>
+
+<p class = "speaker">M. Bru.</p>
+
+<p class = "verse two">
+Gāius cum Gāiā in montem<br>
+Veniunt ad hauriendum fontem;<br>
+Gāius prōlāpsus frēgit frontem,<br>
+Trāxit sēcum Gāiam īnsontem.<a class = "tag" name = "tag3" id = "tag3"
+href = "#note3">3</a></p>
+
+<p><span class = "speaker">Mag.</span>
+Hōc satis est hodiē. Nunc, puerī, cor&mdash; Quid tibi vīs, Quīnte
+Hortēnsī? Facis ut tōtō corpore contremīscam.</p>
+
+<p><span class = "speaker">Q. Hor.</span>
+<span class = "stagedir">(who has been shaking his hand
+persistently).</span> Magister, ego novōs versūs prōnūntiāre possum.
+Soror mea eōs mē docuit.</p>
+
+<p><span class = "speaker">Mag.</span>
+Recitā celeriter.</p>
+
+<p class = "speaker">Q. Hor.</p>
+
+<p class = "verse two">
+Iacōbulus Horner<br>
+Sedēbat in corner<br>
+Edēns Sāturnālicium pie;<br>
+Īnseruit thumb,<br>
+Extrāxit plum,<br>
+Clāmāns, Quam ācer puer sum I.</p>
+
+<span class = "pagenum">8</span>
+<p><span class = "speaker">Mag.</span>
+Nunc, puerī, corpora exercēte. Ūnum, duo, tria.</p>
+
+<p class = "stagedir long">
+(The <i>discipuli</i> now perform gymnastic exercises, following the
+example of the <i>magister</i>, who goes through the movements with
+them. These may be made very amusing, especially if the following
+movements are used: Arms sideways&mdash;stretch; heels&mdash;raise, knee
+bend; forehead&mdash;firm; right knee upward&mdash;bend.)</p>
+
+<p><span class = "speaker">Mag.</span>
+Cōnsīdite. Pēnsum crāstinum est pēnsum decimum. Cavēte nē hōc
+oblīvīscāminī. Pēnsum crāstinum est pēnsum decimum. Et porrō hunc versum
+discite: “Superanda omnis fortūna ferendō est.” <span class =
+"stagedir">(The <i>magister</i> repeats this verse emphatically several
+times in a loud and formal tone, the <i>discipuli</i> repeating it after
+him at the top of their voices.)</span> Iam geōgraphia nōbīs
+cōnsīderanda est et Galliae opera danda. Quid dē Galliā potes tū dīcere,
+Mārce Mārcelle?</p>
+
+<p><span class = "speaker">M. Mar.</span>
+Gallia est omnis dīvīsa in partēs trēs, quārum ūnam incolunt Belgae,
+aliam Aquītānī, tertiam quī ipsōrum linguā Celtae, nostrā Gallī
+appellantur.</p>
+
+<p><span class = "speaker">Mag.</span>
+Pūblī Pulcher, hōrum omnium, quī fortissimī sunt?</p>
+
+<p><span class = "speaker">P. Pul.</span>
+Hōrum omnium fortissimī sunt Belgae.</p>
+
+<p><span class = "speaker">Mag.</span>
+Mihi dīc cūr Belgae fortissimī sint.</p>
+
+<p><span class = "speaker">P. Pul.</span>
+Belgae fortissimī sunt proptereā quod ā cultū atque hūmānitāte Rōmae
+longissimē absunt, minimēque ad eōs mercātōrēs Rōmānī saepe commeant
+atque ea quae ad effēminandōs animōs pertinent, important.</p>
+
+<p><span class = "speaker">Mag.</span>
+Quis fīnēs Galliae dēsīgnāre potest?</p>
+
+<p><span class = "speaker">All</span>
+<span class = "stagedir">(raising hands).</span> Ego, ego possum.</p>
+
+<p><span class = "speaker">Mag.</span>
+Lūcī Lūculle, Galliae fīnēs dēsīgnā.</p>
+
+<p><span class = "speaker">L. Luc.</span>
+Gallia initium capit ā flūmine Rhodanō; continētur Garumnā flūmine,
+Ōceanō, fīnibus Belgārum; attingit flūmen Rhēnum ab Sēquanīs et
+Helvētiīs; vergit ad septentriōnēs.</p>
+
+<span class = "pagenum">9</span>
+<p><span class = "speaker">Mag.</span>
+Quōs deōs colunt Gallī, Gnaeī Pompēī?</p>
+
+<p><span class = "speaker">Gn. Pom.</span>
+Deōrum maximē Mercurium colunt; hunc omnium inventōrem artium ferunt,
+hunc viārum atque itinerum ducem esse arbitrantur. Post hunc Apollinem
+et Martem et Iovem et Minervam colunt.</p>
+
+<p><span class = "speaker">Mag.</span>
+Bene, Gnaeī. Quem deum, Catilīna, colunt Rōmānī maximē?</p>
+
+<p><span class = "speaker">L. Cat.</span>
+Nōs Iovem dīvum patrem atque hominum rēgem maximē colimus.</p>
+
+<p><span class = "speaker">Mag.</span>
+Nunc, puerī, cantāte. Quod carmen hodiē cantēmus? <span class =
+"stagedir">(Many hands are raised.)</span> Gāī Caesar, quod carmen tū
+cantāre vīs?</p>
+
+<p><span class = "speaker">G. Caes.</span>
+Volō “Mīlitēs Chrīstiānī” cantāre.</p>
+
+<p><span class = "speaker">Mag.</span>
+Hōc pulcherrimum carmen cantēmus. <span class = "stagedir">(A knock is
+heard. Enter Publius Licinius Crassus and Aulus Licinius Archias with
+slaves carrying scrolls.)</span> Salvēte, amīcī. Vōs advēnisse gaudeō.
+Nōnne adsīdētis ut puerōs cantāre audiātis?</p>
+
+<p><span class = "speaker">A. Archias.</span>
+Iam rēctē, carmen sānē audiāmus.</p>
+
+<p><span class = "speaker">Mag.</span>
+Optimē, puerī, cantēmus. Ūnum, duo, tria.</p>
+
+<p class = "stagedir">
+(All rise and sing; each has the song<a class = "tag" name = "tag4" id =
+"tag4" href = "#note4">4</a> before him on a scroll.)</p>
+
+<p class = "verse one">
+Mīlitēs Chrīstiānī,<br>
+Bellō pergite;<br>
+Cāram Iēsū crucem<br>
+Vōs prōvehite.<br>
+Chrīstus rēx, magister,<br>
+Dūcit āgmina,<br>
+Eius iam vēxillum<br>
+It in proelia.</p>
+
+<span class = "pagenum">10</span>
+<p class = "verse one">
+Māgnum āgmen movet<br>
+Deī ecclēsia.<br>
+Gradimur sānctōrum,<br>
+Frātrēs, sēmitā.<br>
+Nōn dīvīsī sumus,<br>
+Ūnus omnēs nōs;<br>
+Ūnus spē, doctrīnā,<br>
+Cāritāte nōs.</p>
+
+<p class = "verse one">
+Thronī atque rēgna
+Īnstābilia,<br>
+Sed per Iēsum cōnstāns<br>
+Stat ecclēsia.<br>
+Portae <ins class = "correction" title = "text reads ‘non’">nōn</ins>
+gehennae<br>
+Illam vincere,<br>
+Nec prōmissus Iēsū<br>
+Potest fallere.</p>
+
+<p class = "verse one">
+Popule, beātīs<br>
+Vōs coniungite!<br>
+Carmina triumphī<br>
+Ūnā canite;<br>
+Chrīstō rēgī honor,<br>
+Laudēs, glōria,<br>
+Angelī hōc canent<br>
+Saecla omnia.</p>
+
+<p><span class = "speaker">Mag.</span>
+Iam, puerī, silentiō factō, Gāius Iūlius Caesar nōbīs suam ōrātiōnem
+habēbit quam dē ambitiōne suā composuit. Hāc ōrātiōne fīnītā, Mārcus
+Tullius Cicerō suam habēbit. Ut prōnūntiātum est complūribus diēbus
+ante, hī duo puerī dē praemiō inter sē contendunt. Hōc diē fēlīcissimō
+duo clārissimī et honestissimī virī arbitrī sunt, Aulus Licinius Archiās
+et Pūblius Licinius Crassus. In rōstra, Gāī Iūlī Caesar, ēscende!</p>
+
+<p><span class = "speaker">G. Caes.</span>
+<span class = "stagedir">(Reads from a scroll or recites.)</span> Mea
+cāra ambitiō est perītus dux mīlitum fierī. Bella multa et māgna
+<span class = "pagenum">11</span>
+cum gentibus omnibus nātiōnibusque orbis terrae gerere cupiō.</p>
+
+<p>Bellum īnferre volō Germānīs et īnsulae Britanniae omnibusque populīs
+Galliae et cēterīs quī inimīcō animō in populum Rōmānum sunt. In prīmīs,
+in īnsulam Britanniam pervenīre cupiō, quae omnis ferē Rōmānīs est
+incōgnita, et cōgnoscere quanta sit māgnitūdō īnsulae.</p>
+
+<p>Volō pontem in Rhēnō aedificāre et māgnum exercitum trādūcere ut
+metum illīs Germānīs quibus nostra parvula corpora contemptuī sunt
+iniciam. Ubi Rhēnum ego trānsierō, nōn diūtius glōriābuntur illī Germānī
+māgnitūdine suōrum corporum.</p>
+
+<p>Vōs sententiam rogō, iūdicēs amplissimī, nōnne est haec ambitiō
+honesta?</p>
+
+<p>Deinde rēs gestās meās perscrībam. Negōtium hūius historiae legendae
+puerīs dabō mentium exercendārum causā, nam mihi crēdite, commentāriī dē
+bellō Gallicō ūtilēs erunt ad ingenia acuenda puerōrum. <span class =
+"stagedir">(<i>Discipuli</i> applaud.)</span></p>
+
+<p><span class = "speaker">Mag.</span>
+Nunc Mārcus nōbīs dē suā cārissimā ambitiōne loquētur. In rōstra
+ēscende, Mārce!</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Quoad longissimē potest mēns mea respicere et ultimam memoriam
+recordārī, haec mea ambitiō fuit, ut mē ad scrībendī studium cōnferam,
+prīmum Rōmae, deinde in aliīs urbibus.</p>
+
+<p>Ambitiō mea autem est omnibus antecellere ingenī meī glōriā, ut haec
+ōrātiō et facultās, quantacumque in mē sit, numquam amīcōrum perīculīs
+dēsit. Nōnne est haec ambitiō maximum incitāmentum labōrum?</p>
+
+<p>Deinde, haec est mea ambitiō, ut cōnsul sim. Dē meō amōre glōriae
+vōbīs cōnfitēbor. Volō poētās reperīre quī
+<span class = "pagenum">12</span>
+ad glōriam meī cōnsulātūs celebrandam omne ingenium cōnferant. Nihil mē
+mūtum poterit dēlectāre, nihil tacitum. Quid enim, nōnne dēsīderant
+omnēs glōriam et fāmam? Quam multōs scrīptōrēs rērum suāram māgnus ille
+Alexander sēcum habuisse dīcitur! Itaque, ea verba quae prō meā
+cōnsuētūdine breviter simpliciterque dīxī, arbitrī, cōnfīdō probāta esse
+omnibus. <span class = "stagedir">(<i>Discipuli</i> applaud.)</span></p>
+
+<p><span class = "speaker">Mag.</span>
+Ut vidētis, arbitrī clārissimī, puerī ānxiīs animīs vestrum dēcrētum
+exspectant. Quae cum ita sint, petō ā vōbīs, ut testimōnium laudis
+dētis.</p>
+
+<p><span class = "speaker">A. Archias.</span>
+Ambōs puerōs, magister, maximē laudamus, sed ūnus sōlus praemium habēre
+potest. Nōs nōn dēcernere possumus. Itaque dēcrēvimus ut hī puerī ambō
+inter sē sortiantur uter praemium obtineat. Servī, urnam prōferte!
+Nōmina in urnam iaciam. Quī habet nōmen quod prīmum ēdūcam, is vīctor
+erit. <span class = "stagedir">(Takes from the urn a small chip and
+reads the name <i>Marcus Tullius Cicero</i>.)</span> Tē, Mārce Cicerō,
+victōrem esse prōnūntiō. Sīc fāta dēcrēvērunt. Servī, corōnam ferte!
+<span class = "stagedir">(Places a wreath of leaves on the head of
+Marcus. The <i>discipuli</i> again applaud.)</span></p>
+
+<p><span class = "speaker">M. Cic.</span>
+<span class = "stagedir">(going up to Cæsar).</span> Caesar, nōlī animō
+frangī. Nōn dubium est quīn tū meliōrem ōrātiōnem habuerīs.</p>
+
+<p><span class = "speaker">G. Caes.</span>
+<span class = "stagedir">(coolly).</span> Dīs aliter vīsum est.</p>
+
+<p><span class = "speaker">Mag.</span>
+Vōs ambō, Gāī et Mārce, honōrī huic scholae estis. Utinam cēterī vōs
+imitentur. Aliud certāmen hūius modī mox habēbimus. Loquēmur dē&mdash;
+<span class = "stagedir">(A&nbsp;knock is heard. Enter Gaius Licinius
+Crassus.)</span></p>
+
+<p><span class = "speaker">G. Cras.</span>
+Mī pater!</p>
+
+<p><span class = "speaker">P. Cras.</span>
+Mī fīlī! <span class = "stagedir">(They embrace.)</span></p>
+
+<p><span class = "speaker">G. Cras.</span>
+Māter mea mihi dīxit tē arbitrum in hōc certāmine hodiē esse. Tē diūtius
+exspectāre nōn potuī. Iam
+<span class = "pagenum">13</span>
+diū tē vidēre cupiō et ego quoque cupiō hōc certāmen audīre. Estne
+cōnfectum?</p>
+
+<p><span class = "speaker">P. Cras.</span>
+Cōnfectum est. Utinam hī puerī tē recitāre audiant! Tū eōs docēre possīs
+quōmodo discipulī Rhodiī in scholā recitent.</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Ō arbiter, nōbīs grātissimum sit, sī tuum fīlium audīre possīmus.</p>
+
+<p><span class = "speaker">Discipuli</span>
+<span class = "stagedir">(eagerly).</span> Ō Crasse, recitā, recitā!</p>
+
+<p><span class = "speaker">G. Cras.</span>
+Sī vōbīs id placet, recitābō, meum tamen carmen longum est. Ēius titulus
+est “Pome of a Possum.” <span class = "stagedir">(Recites with
+gesticulation.)</span></p>
+
+<p class = "verse one">
+The nox was lit by lūx of lūna,<br>
+And ’twas a nox most opportūna<br>
+To catch a possum or a coona;<br>
+For nix was scattered o’er this mundus,<br>
+A shallow nix, et nōn profundus.<br>
+On sīc a nox, with canis ūnus,<br>
+Two boys went out to hunt for coonus.</p>
+
+<p class = "verse two">
+Ūnus canis, duo puer,<br>
+Numquam braver, numquam truer,<br>
+Quam hoc trio quisquam fuit,<br>
+If there was, I never knew it.</p>
+
+<p class = "verse one">
+The corpus of this bonus canis<br>
+Was full as long as octō span is,<br>
+But brevior legs had canis never<br>
+Quam had hīc bonus dog et clever.<br>
+Some used to say, in stultum iocum,<br>
+Quod a field was too small locum<br>
+For sīc a dog to make a turnus<br>
+Circum self from stem to sternus.</p>
+
+<p class = "verse one">
+This bonus dog had one bad habit,<br>
+Amābat much to chase a rabbit;<br>
+Amābat plūs to catch a rattus,<br>
+Amābat bene tree a cattus.<br>
+<span class = "pagenum">14</span>
+But on this nixy moonlight night<br>
+This old canis did just right,<br>
+Numquam chased a starving rattus,<br>
+Numquam treed a wretched cattus,<br>
+But cucurrit on, intentus<br>
+On the track and on the scentus,<br>
+Till he treed a possum strongum<br>
+In a hollow trunkum longum.<br>
+Loud he barked in horrid bellum,<br>
+Seemed on terrā vēnit hellum.<br>
+Quickly ran uterque puer<br>
+Mors of possum to secure.<br>
+Cum venērunt, one began<br>
+To chop away like quisque man;<br>
+Soon the ax went through the trunkum,<br>
+Soon he hit it all kerchunkum;<br>
+Combat deepens; on, ye braves!<br>
+Canis, puerī, et staves;<br>
+As his powers nōn longius tarry,<br>
+Possum potest nōn pūgnāre;<br>
+On the nix his corpus lieth,<br>
+Ad the Styx his spirit flieth,<br>
+Joyful puerī, canis bonus<br>
+Think him dead as any stonus.<br>
+Now they seek their pater’s domō,<br>
+Feeling proud as any homō,<br>
+Knowing, certē, they will blossom<br>
+Into heroes, when with possum<br>
+They arrive, narrābunt story,<br>
+Plēnus blood et plēnior glory.<br>
+Pompey, David, Samson, Caesar,<br>
+Cyrus, Black Hawk, Shalmaneser!<br>
+Tell me where est now the glōria,<br>
+Where the honors of vīctōria?</p>
+
+<p class = "verse one indent">
+Cum ad domum nārrant story,<br>
+Plēnus sanguine, tragic, gory,<br>
+Pater praiseth, likewise māter,<br>
+Wonders greatly younger frāter.<br>
+<span class = "pagenum">15</span>
+Possum leave they on the mundus,<br>
+Go themselves to sleep profundus,<br>
+Somniant possums slain in battle<br>
+Strong as ursae, large as cattle.</p>
+
+<p class = "verse one indent">
+When nox gives way to <ins class = "correction"
+title = "text reads ‘lux’">lūx</ins> of morning,<br>
+Albam terram much adorning,<br>
+Up they jump to see the varmen<br>
+Of which this here is the carmen.<br>
+Possum, lo, est resurrēctum!<br>
+Ecce puerum dēiectum!<br>
+Nōn relinquit track behind him,<br>
+Et the puerī never find him;<br>
+Cruel possum, bēstia vilest,<br>
+How tū puerōs beguilest;<br>
+Puerī think nōn plūs of Cæsar,<br>
+Go ad Orcum, Shalmaneser,<br>
+Take your laurels, cum the honor,<br>
+Since istud possum is a goner!<a class = "tag" name = "tag5" id = "tag5"
+href = "#note5">5</a>
+
+<p class = "stagedir">
+(<i>Discipuli</i> applaud.)</p>
+
+<p><span class = "speaker">Mag.</span>
+Omnēs quī Gāiō Crassō grātiās agere velint, surgite! <span class =
+"stagedir">(All stand.)</span> Nunc, puerī, domum redīte.</p>
+
+<p><span class = "speaker">Discipuli</span>
+<span class = "stagedir">(departing)</span>.</p>
+
+<p class = "verse two">
+&nbsp; &nbsp; Omne bene,<br>
+&nbsp; &nbsp; Sine poenā<br>
+Tempus est lūdendī;<br>
+&nbsp; &nbsp; Vēnit hōra<br>
+&nbsp; &nbsp; Absque morā<br>
+Librōs dēpōnendī.</p>
+
+<p>Valē, magister. Valē, magister.</p>
+
+<div class = "footnote">
+<p><a class = "tag" name = "note1" id = "note1" href = "#tag1">1</a>
+“Four or five of these (walnuts) are piled pyramidally together, when
+the players, withdrawing to a short distance, pitch another walnut at
+them, and he who succeeds in striking and dispersing the heap wins.”
+Story, “Roba di Roma,” p.&nbsp;128.</p>
+
+<p><a class = "tag" name = "note2" id = "note2" href = "#tag2">2</a>
+See Johnston, “Private Life of the Romans,” p.&nbsp;81; or Miller, “The
+Story of a Roman Boy.”</p>
+
+<p><a class = "tag" name = "note3" id = "note3" href = "#tag3">3</a>
+Here, as well as elsewhere, remember that <i>Gāius</i> and <i>Gāia</i>
+are each three syllables.</p>
+
+<p><a class = "tag" name = "note4" id = "note4" href = "#tag4">4</a>
+Tune of “Onward, Christian Soldiers.” Slightly altered from
+<i>Education</i>, Vol. IX, p.&nbsp;187. The author hopes that this most
+obvious anachronism will be pardoned on the ground that this hymn
+appeals to young pupils more than most Latin songs, and is therefore
+enjoyed by them and more easily learned.</p>
+
+<p><a class = "tag" name = "note5" id = "note5" href = "#tag5">5</a>
+Anonymous.</p>
+
+
+<span class = "pagenum">16</span>
+
+<h4><a name = "school_costumes" id = "school_costumes">COSTUMES</a></h4>
+
+<p>The <i>magister</i>, <i>iudices</i>, and <i>discipuli</i> should all
+wear white togas with a purple<a class = "tag" name = "tag6" id = "tag6"
+href = "#note6">6</a> border. A&nbsp;white gauze shirt with short
+sleeves may be used as a tunic, while white duck trousers and tennis
+slippers serve to complete the costume.</p>
+
+<p class = "illustration">
+<img src = "images/pic16.png" width = "517" height = "268"
+alt = "diagram of toga"></p>
+
+<p>The togas can be made of white muslin according to the measurements
+and cut given by Professor Johnston,<a class = "tag" name = "tag7" id =
+"tag7" href = "#note7">7</a> which he has kindly permitted me to use.
+“Those who attempt the reconstruction of the toga wholly or chiefly from
+works of art find it impossible to reproduce on the living form the
+drapery seen on the statues, with a toga of one piece of goods or of a
+semicircular pattern. An experimental form is shown in the figure, and
+<span class = "pagenum">17</span>
+resembles that of a lamp shade cut in two and stretched out to its full
+extent. The dotted line <i>GC</i> is the straight edge of the goods; the
+heavy lines show the shape of the toga after it had been cut out, and
+had had sewed upon it the ellipse-like piece marked <i>FRAcba</i>. The
+dotted line <i>GE</i> is of a length equivalent to the height of a man
+at the shoulder, and the other measurements are to be calculated
+proportionately. When the toga is placed on the figure, the point
+<i>E</i> must be on the left shoulder, with the point <i>G</i> touching
+the ground in front. The point <i>F</i> comes at the back of the neck,
+and as the larger part of the garment is allowed to fall behind the
+figure the points <i>L</i> and <i>M</i> will fall on the calves of the
+legs behind, the point <i>a</i> under the right elbow, and the point
+<i>b</i> on the stomach. The material is carried behind the back and
+under the right arm and then thrown over the left shoulder again. The
+point <i>c</i> will fall on <i>E</i>, and the portion <i>OPCa</i> will
+hang down the back to the ground. The part <i>FRA</i> is then pulled
+over the right shoulder to cover the right side of the chest and form
+the <i>sinus</i>, and the part running from the left shoulder to the
+ground in front is pulled up out of the way of the feet, worked under
+the diagonal folds, and allowed to fall out a little to the front.”</p>
+
+<p>The <i>servi</i> and <i>paedagogus</i> should wear tunics of some
+coarse, dark-colored material.</p>
+
+<p>In small schools, where there is not a sufficiently large number of
+boys in the Latin classes for <i>discipuli</i>, the parts may be taken
+by girls. Their hair should fall nearly to their shoulders, as in the
+case of the Roman boy. They may wear unstarched white skirts under the
+toga.</p>
+
+<p>The <i>tabellae</i> may be made of little book-shaped slates with
+wooden borders (paint them light-colored), and the rolls of paper.</p>
+</div>
+
+<div class = "footnote">
+<p><a class = "tag" name = "note6" id = "note6" href = "#tag6">6</a>
+That is, either “the color of clotted blood” (which was the Tyrian
+purple, the purple above all others) or any color from this to violet;
+“purple” meant the dye from any sort of univalve mollusk that gave a
+dye. There is reason to believe that genuine Turkey red, though not a
+mollusk dye, was commercially called a purple.</p>
+
+<p><a class = "tag" name = "note7" id = "note7" href = "#tag7">7</a>
+Johnston, “Private Life of the Romans,” Scott, Foresman &amp; Co.,
+1903.</p>
+</div>
+
+<a name = "wedding" id = "wedding">&nbsp;</a>
+
+<hr class = "small">
+<hr class = "mid">
+<hr class = "small">
+
+<div class = "page">
+
+<span class = "pagenum">19</span>
+
+<h2>A ROMAN WEDDING</h2>
+
+<h4>63 B.C.</h4>
+
+</div>
+
+<hr class = "small">
+<hr class = "mid">
+<hr class = "small">
+
+
+<span class = "pagenum">20</span>
+
+<table class = "personae" summary = "list of scenes">
+<tr>
+<td colspan = "2">
+<h5>TRES SCAENAE</h5>
+</td>
+</tr>
+<tr>
+<td><a href = "#wedding_1">Scaena prīma:</a></td>
+<td>Spōnsālia</td>
+</tr>
+<tr>
+<td><a href = "#wedding_2">Scaena secunda:</a></td>
+<td>Nūptiae</td>
+</tr>
+<tr>
+<td><a href = "#wedding_3">Scaena tertia:</a></td>
+<td>Dēductiō</td>
+</tr>
+</table>
+
+<table class = "personae" summary = "cast of characters">
+<tr>
+<td colspan = "2">
+<h5>DRĀMATIS PERSŌNÆ</h5>
+</td>
+</tr>
+<tr>
+<td>Spōnsa:</td>
+<td>Tullia</td>
+</tr>
+<tr>
+<td>Spōnsus:</td>
+<td>Gāius Pīsō</td>
+</tr>
+<tr>
+<td>Spōnsae pater:</td>
+<td>Mārcus Tullius Cicerō</td>
+</tr>
+<tr>
+<td>Spōnsae māter:</td>
+<td>Terentia</td>
+</tr>
+<tr>
+<td>Spōnsī pater:</td>
+<td>Lūcius Pīso Frūgī</td>
+</tr>
+<tr>
+<td>Spōnsī māter</td>
+<td></td>
+</tr>
+<tr>
+<td>Spōnsae frāter:</td>
+<td>Mārcus Tullius Cicerō, adulēscēns</td>
+</tr>
+<tr>
+<td colspan = "2">Flāmen Diālis</td>
+</tr>
+<tr>
+<td colspan = "2">Pontifex Maximus</td>
+</tr>
+<tr>
+<td colspan = "2">Iūris cōnsultus</td>
+</tr>
+<tr>
+<td colspan = "2">Quīntus Hortēnsius</td>
+</tr>
+<tr>
+<td colspan = "2">Prōnuba</td>
+</tr>
+<tr>
+<td colspan = "2">Sīgnātōrēs</td>
+</tr>
+<tr>
+<td colspan = "2">Tībīcinēs</td>
+</tr>
+<tr>
+<td colspan = "2">Līctōrēs</td>
+</tr>
+<tr>
+<td colspan = "2">&nbsp;</td>
+</tr>
+<tr>
+<td>Mārcipor<br>
+Philotīmus<br>
+Tīrō<br>
+Anna</td>
+<td class = "bracket">Servī</td>
+</tr>
+</table>
+
+
+<span class = "pagenum">21</span>
+<h3>A ROMAN WEDDING</h3>
+
+
+<h4><a name = "wedding_1" id = "wedding_1">SCAENA PRĪMA</a><br>
+<span class = "subhead">SPŌNSĀLIA</span></h4>
+
+<p class = "scenedesc">
+Let the curtain be raised, showing a room furnished as nearly as
+possible like the atrium of a Roman house. A&nbsp;bench, covered with
+tapestry, on each side of the stage facilitates the seating of the
+guests. Cicero is heard practicing an oration behind the scenes.</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Ō rem pūblicam miserābilem! Quā rē, Quirītēs, dubitātis? Ō&nbsp;dī
+immortālēs! Ubinam gentium sumus? In quā urbe vīvimus? Quam rem pūblicam
+habēmus? Vīvis, et vīvis nōn ad dēpōnendam sed ad cōnfīrmandam tuam
+audāciam.</p>
+
+<p class = "stagedir">
+(Enter Terentia. A slave, Anna, follows bringing a boy’s toga, which she
+begins to sew, under Terentia’s direction. Another slave, Marcipor, also
+follows.)</p>
+
+<p>Nihil agis, nihil mōlīris, nihil cōgitās quod nōn ego nōn modo
+audiam, sed videam. Quae cum ita sint, Catilīna, ex urbe ēgredere;
+patent portae, proficīscere. Māgnō mē metū līberābis dum modo inter mē
+atque tē mūrus intersit. Quid est enim, Catilīna, quod tē iam in hāc
+urbe dēlectāre possit? Quamquam quid loquor? Tē ut ūlla rēs frangat?
+<span class = "stagedir">(A&nbsp;crash, similar to that of falling
+china, is heard.)</span></p>
+
+<p><span class = "speaker">Terentia.</span>
+Quid est? Vidē, Mārcipor!</p>
+
+<span class = "pagenum">22</span>
+<p class = "stagedir">
+(As Marcipor is about to leave, Philotimus enters at the right, bringing
+in his hands the pieces of a broken vase.)</p>
+
+<p><span class = "speaker">Phil.</span>
+Ō domina, ecce, dominus, dum ōrātiōnem meditātur, vās quod ipse tibi ē
+Graeciā attulit, manūs gestū dēmōlītus est.</p>
+
+<p><span class = "speaker">Terentia</span>
+<span class = "stagedir">(groaning).</span> Lege, Philotīme, omnia <ins
+class = "correction" title = "text reads ‘frāgmenta’">fragmenta</ins>.
+<span class = "stagedir">(Exit Phil.)</span> Mihi, Mārcipor, fer cistam
+ex alabastrītā factam. <span class = "stagedir">(Exit Mar.)</span> <span
+class = "stagedir">(To&nbsp;herself.)</span> Tam molestum est ōrātōrī
+nūpsisse. <span class = "stagedir">(Covers her face with her hands, as
+if weeping.)</span></p>
+
+<p><span class = "speaker">M. Cic.</span>
+<span class = "stagedir">(proceeding with his practicing).</span> Atque
+hōc quoque ā mē ūnō togātō factum est. Mārce Tullī, quid agis?
+Interfectum esse Lūcium Catilīnam iam prīdem oportēbat. Quid enim malī
+aut sceleris fingī aut cōgitārī potest quod ille nōn concēperit?
+Ō&nbsp;rem pūblicam fortūnātam, ō&nbsp;praeclāram laudem meī cōnsulātūs,
+sī ex vītā ille exierit! Vix feram sermōnēs hominum, sī id fēcerit.
+<span class = "stagedir">(Enter Marcipor with a small box.)</span></p>
+
+<p><span class = "speaker">Mar.</span>
+Hīc est, domina, cista tua.</p>
+
+<p><span class = "speaker">Terentia</span>
+<span class = "stagedir">(takes from her bosom a key and opens the box,
+taking out a package of letters, one of which she reads).</span> “Sine
+tē, ō&nbsp;mea Terentia cārissima, sum miserrimus. Utinam domī tēcum
+semper manērem. Quod cum nōn possit, ad mē cotīdiē litterās scrībe. Cūrā
+ut valeās et ita tibi persuādē, mihi tē cārius nihil esse nec umquam
+fuisse. Valē, mea Terentia, quam ego vidēre videor itaque dēbilitor
+lacrimīs. Cūrā, cūrā tē, mea Terentia. Etiam atque etiam valē.”</p>
+
+<p>Quondam litterās amantissimās scrīpsit; nunc epistolia frīgēscunt.
+Quondam vās mihi dedit, nunc vās mihi dēmōlītur; quondam fuit marītus,
+nunc est ōrātor. Tam molestum est mātrem familiās esse.</p>
+
+<span class = "pagenum">23</span>
+<p class = "stagedir">
+(Enter Cicero, from the right, followed by his slave Tiro, carrying a
+number of scrolls which he places upon a table.)</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Quid est, Terentia? Quidnam lacrimās? Mihi dīc.</p>
+
+<p><span class = "speaker">Terentia.</span>
+Rēs nūllast! Modo putābam quantum mūtātus ab illō Cicerōne quī mē in
+mātrimōnium dūxerit, sit Cicerō quem hodiē videō. Tum Terentiae aliqua
+ratiō habēbātur. Nunc vacat Cicerō librīs modo et ōrātiōnibus et
+Catilīnae. Nescīs quantum mē hūius negōtī taedeat! Nūllum tempus habēs
+ad cōnsultandum mēcum dē studiīs nostrī fīliolī. Magister dē eō haec
+hodiē rettulit. <span class = "stagedir">(Hands Cicero a scroll.)</span>
+Mē pudet fīlī.</p>
+
+<p><span class = "speaker">M. Cic.</span>
+<span class = "stagedir">(reading to himself the report).</span> Dīc meō
+fīliō, Mārcipor, ut ad mē veniat. <span class = "stagedir">(Exit
+Marcipor, who returns bringing young Marcus.)</span></p>
+
+<p><span class = "speaker">M. Cic. a.</span>
+Quid est, pater?</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Tua māter, mī fīlī, animum ānxium ob hanc renūntiātiōnem dē tē habet. Mē
+quoque, cōnsulem Rōmānum, hūius renūntiātiōnis quibusdam partibus pudet.
+<span class = "stagedir">(Reads aloud.)</span> “Bis absēns.” Cūr, mī
+fīlī, ā&nbsp;scholā āfuistī?</p>
+
+<p><span class = "speaker">M. Cic. a.</span>
+Id nōn memoriā teneō.</p>
+
+<p><span class = "speaker">Terentia.</span>
+Sunt multa quae memoriā nōn tenēs, sī ego dē hāc renūntiātiōne iūdicāre
+possum.</p>
+
+<p><span class = "speaker">M. Cic.</span>
+<span class = "stagedir">(continues reading).</span> “Tardus deciēns!”
+Deciēns! Id est incrēdibile! Fīlius cōnsulis Rōmānī tardus deciēns!
+Māter tua id nōn patī dēbuit.</p>
+
+<p><span class = "speaker">Terentia</span>
+<span class = "stagedir">(angrily).</span> Māter tua id nōn patī dēbuit!
+Immō vērō pater tuus id nōn patī debuit.</p>
+
+<p><span class = "speaker">M. Cic.</span>
+“Ars legendī <i>A</i>.” Id quidem satis est. “Ars scrībendī <i>D</i>.”
+<i>D</i>! Id quidem minimē satis est. Nūgātor dēfuit officiō! “Fīlius
+tuus dīcit scrīptūram tempus longius
+<span class = "pagenum">24</span>
+cōnsūmere. Dēbet sē in scrībendō multum exercēre, sī scrībere modō
+tolerābilī discere vult. Arithmētica <i>A</i>. Huic studiō operam dat.
+Dēclāmātiō <i>A</i>. Omnibus facile hōc studiō antecellit.” Bene, mī
+fīlī. Ea pars hūius renūntiātiōnis mihi māgnopere placet. Ōrātor
+clārissimus ōlim eris.</p>
+
+<p><span class = "speaker">Terentia.</span>
+Ūnus ōrātor apud nōs satis est.</p>
+
+<p><span class = "speaker">M. Cic. a.</span>
+Ōrātor erō ōlim nihilō minus. Facile est ōrātōrem fierī. Dēclāmātiō est
+facillima. Hodiē in scholā hanc dēclāmātiōnem didicī:</p>
+
+<div class = "verse">
+<p>Omnia tempus edāx dēpāscitur, omnia carpit,</p>
+<p class = "indent">
+Omnia sēde movet, nīl sinit esse diū.</p>
+<p>Flūmina dēficiunt, profugum mare lītora siccant,</p>
+<p class = "indent">
+Subsīdunt montēs et iuga celsa ruunt.</p>
+<p>Quid tam parva loquor? mōlēs pulcherrima caelī</p>
+<p class = "indent">
+Ardēbit flammīs tōta repente suīs.</p>
+<p>Omnia mors poscit. Lēx est, nōn poena, perīre:</p>
+<p class = "indent">
+Hīc aliquō mundus tempore nūllus erit.</p>
+</div>
+
+<p><span class = "speaker">Terentia.</span>
+Tālis dēclāmātiō est facilis. Audī quid dē geōmetriā tuā relātum sit.
+Geōmetria magis quam declāmātiō ostendit utrum tū mentem exerceās.</p>
+
+<p><span class = "speaker">M. Cic.</span>
+<span class = "stagedir">(continues reading).</span> “Geōmetria
+<i>D</i>.” Magister haec scripsit: “Fīlius tuus dīcit geōmetriam
+ōrātōribus inūtilem esse. Eī dīligenter domī labōrandum est.”
+Ō&nbsp;Mārce, hōc est incrēdibile! Num dīxistī tū geōmetriam ōrātōribus
+inūtilem esse?</p>
+
+<p><span class = "speaker">M. Cic. a.</span>
+Ō, studium geōmetriae mihi odiōsum ingrātumque est! Omnēs puerōs istīus
+taedet. Tantī nōn est!</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Etiam sī studium tū nōn amās, geōmetriam discere dēbēs. Tibi centum
+sēstertiōs dabō sī summam notam in geōmetriā proximō mēnse adeptus
+eris.</p>
+
+<span class = "pagenum">25</span>
+<p><span class = "speaker">M. Cic. a.</span>
+<span class = "stagedir">(grasping his father’s hand).</span> Amō tē,
+pater, convenit! Eam adipīscar!</p>
+
+<p><span class = "speaker">Terentia</span>
+<span class = "stagedir">(to Anna).</span> Estne toga parāta?</p>
+
+<p><span class = "speaker">Anna.</span>
+Parāta est, domina.</p>
+
+<p><span class = "speaker">Terentia.</span>
+Hūc venī, Mārce!</p>
+
+<p><span class = "speaker">M. Cic. a.</span>
+Ō māter, tempus perdere nōlō. Mālō legere.</p>
+
+<p><span class = "speaker">Terentia.</span>
+Quid dīcis? Nōn vīs? Nōnne vīs novam togam habēre?</p>
+
+<p><span class = "speaker">M. Cic. a.</span>
+Nōlō. Novā mī nīl opus est. Tam fessus sum! <span class =
+"stagedir">(Picks up a scroll and is about to take a seat in the
+corner.)</span></p>
+
+<p><span class = "speaker">M. Cic.</span>
+Ad mātrem tuam, Mārce Cicerō, sine morā, accēde!</p>
+
+<p class = "stagedir">
+(Marcus is about to obey when a knock is heard at the door. Lucius Piso
+Frugi and Quintus Hortensius enter at the left.)</p>
+
+<p><span class = "speaker">M. Cic.</span>
+<span class = "stagedir">(greeting Q. Hortensius).</span> Ō amīcī,
+salvēte! ut valētis?</p>
+
+<p><span class = "speaker">Terentia</span>
+<span class = "stagedir">(greeting L. Piso).</span> Dī duint vōbīs
+quaecumque optētis. Cicerōnī modo dīcēbam nōs diū vōs nōn vidēre,
+praesertim tē, Pīsō. Mārcipor, ubi est Tullia? Eī dīc ut hūc veniat.</p>
+
+<p><span class = "speaker">L. Piso.</span>
+Nōlī Tulliam vocāre. Nunc cum parentibus Tulliae agere volō, nōn cum
+Tulliā ipsā.</p>
+
+<p><span class = "speaker">Terentia.</span>
+Nōn vīs nostram Tulliam vidēre! Quid, scīre volō?</p>
+
+<p><span class = "speaker">L. Piso.</span>
+Cum eā hōc tempore agere nōn cupiō. Id propter quod in vestram domum
+hodiē vēnī tuā, et Cicerōnis rēfert. Velim vōbīscum agere prō meō fīliō,
+Gāiō Pīsōne, quī fīliam tuam in mātrimōnium dūcere vult.</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Meam fīliam in mātrimōnium dūcere! Mea Tulliola nōndum satis mātūra est
+ut nūbat. Mea fīlia
+<span class = "pagenum">26</span>
+mihi cārior vītā ipsā est. Eam āmittere .&nbsp;.&nbsp;. id nōn ferre
+possum. Ea lūx nostra est. Meā Tulliolā nihil umquam amābilius, nec
+longā vītā ac prope immortālitāte dīgnius vīdī. Nōndum annōs
+quattuordecim implēvit et iam ēius prūdentia est mīrābilis. Ut magistrōs
+amat! Quam intellegenter legit! Nōn possum verbīs exprimere quantō
+vulnere animō percutiar sī meam Tulliolam āmittam. Utinam penitus
+intellegerēs meōs sēnsūs, quanta vīs paternī sit amōris.</p>
+
+<p><span class = "speaker">L. Piso.</span>
+Tālia verba, Mārce Tullī, virī Rōmānī nōn propria sunt. Necesse est
+omnēs nostrās fīliās in mātrimōnium dēmus. Nihil aliud exspectā.</p>
+
+<p><span class = "speaker">Terentia.</span>
+Nostra fīlia omnibus grātissima est. Semper enim lepida et līberālis
+est. Iam diū sciō nōs eam nōn semper retinēre posse.</p>
+
+<p><span class = "speaker">L. Piso.</span>
+Rēctē, rēctē! Meus fīlius bonus est; est ōrātor. Est quoque satis dīves.
+Rōmae duās aedēs habet; rūre māgnificentissima vīlla est eī. Cum illō
+fīlia tua fēlīx erit. Id mihi persuāsum habeō. Quae cum ita sint, Mārce
+Tullī, sine dōte tuam fīliam meō fīliō poscō.</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Prohibeant dī immortālēs condiciōnem ēius modī. Cum mea fīlia in
+mātrimōnium danda sit, nēminem cōgnōvī quī illā dīgnior sit quam tuus
+fīlius ēgregius.</p>
+
+<p><span class = "speaker">L. Piso</span>
+<span class = "stagedir">(shaking hands with Cicero).</span> Ō Mārce, mī
+amīce, dī tē respiciant! Nunc mihi eundum est ut fīlium et sīgnātōrēs
+arcessam et iam hūc revertar.</p>
+
+<p class = "stagedir">
+(Exeunt L. Piso and Q. Hortensius.)</p>
+
+<p><span class = "speaker">Terentia.</span>
+Dīc, Mārcipor, servīs ut in culīnā vīnum, frūctūs, placentās parent.
+<span class = "stagedir">(Exit Marcipor.)</span> Mārce, fīlī, sorōrem
+vocā.</p>
+
+<span class = "pagenum">27</span>
+<p class = "speaker">M. Cic. a.</p>
+
+<p class = "verse two">
+Tullia, ō Tullia,<br>
+Soror mea bella,<br>
+Amātōres tibi sunt<br>
+Pīsō et Dolābella.</p>
+
+<p class = "stagedir">
+(Enter Tullia at the right.)</p>
+
+<p class = "verse two">
+Amatne Pīsō tē,<br>
+Etiam Dolābella?<br>
+Tullia, ō Tullia,<br>
+Soror mea bella,<br>
+Pīsōnem tuum marītum fac;<br>
+Nōn grātus Dolābella.</p>
+
+<p><span class = "speaker">Tullia.</span>
+Ō Mārce, tuī mē taedet. Quid est, māter?</p>
+
+<p><span class = "speaker">Terentia.</span>
+Tullia, nōnne est Gāius Pīsō tibi grātissimus?</p>
+
+<p><span class = "speaker">Tullia.</span>
+Ō, mihi satis placet. Cūr mē rogās, māter?</p>
+
+<p><span class = "speaker">Terentia.</span>
+Rogō, mea fīlia, quod Pīsō tē in mātrimōnium dūcere vult. Tibi placetne
+hōc?</p>
+
+<p><span class = "speaker">Tullia.</span>
+Mihi placet sī&mdash;</p>
+
+<p><span class = "speaker">Terentia.</span>
+Sī&mdash;quid, mea fīlia?</p>
+
+<p><span class = "speaker">Tullia.</span>
+Ō māter, nōlō nūbere. Sum fēlīx tēcum et patre et Mārcō. Vīxī tantum
+quattuordecim annōs. Puella diūtius esse volō, nōn māter familiās.</p>
+
+<p><span class = "speaker">Terentia.</span>
+Pīsō dīves est. Pater tuus nōn māgnās dīvitiās nunc habet. Meum argentum
+quoque cōnsūmptum est. Etiam haec domus nostra nōn diūtius erit. Quid
+faciāmus sī tū nōn bene nūbēs?</p>
+
+<p><span class = "speaker">Tullia.</span>
+Sciō patrem meum nōn māgnās possessiōnēs habēre; quid vērō, māter?
+Servīlia, Lūcullī spōnsa, quī modo rediit spoliīs Orientis onustus,
+semper suam fortūnam queritur. Misera Lūcullum ōdit ac dētestātur.
+Hesternō diē meīs auribus Servīliam haec verba dīcere audīvī: “Mē
+miseram! Īnfēlīcissimam vītam! Fēminam maestam! quid faciam? Mihi
+dēlēctus est marītus ōdiōsus.
+<span class = "pagenum">28</span>
+Nēmō rogāvit quī vir mihi maximē placeat. Coniugem novum ōderō, id
+certum est. Prae lacrimīs nōn iam loquī possum.” Ō&nbsp;māter! ego sum
+aequē trīstis ac Servīlia. Nōlō Gāiō Pīsōnī nūbere. Nūllī hominī, neque
+Rōmānō neque peregrīnō, quem vīderim, nūbere volō.</p>
+
+<p><span class = "speaker">Terentia.</span>
+Tullia, mea fīlia, mātris et nostrae domūs miserēre! Hodiē pater ā mē
+argentum postulābat quod eī dare nōn poteram. Pīsō dītissimus est et
+nōbīs auxiliō esse potest. Parentum tuōrum causā tē ōrō nē hunc ēgregium
+adulēscentem aspernēris.</p>
+
+<p><span class = "speaker">Tullia.</span>
+Ō Servīliam et Tulliam, ambās miserās! Quid dīcis tū, mī pater? Vīs tū
+quoque mē in mātrimōnium dare?</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Ō mea Tulliola, mē nōlī rogāre. Nescīs quantum ego tē amem. Sine tē
+vīvere nōn poterō. Id mihi persuāsum habeō. Putō tamen, sī pācem apud
+nōs habēre velīmus, tē mātris iussa sequī necesse esse.</p>
+
+<p><span class = "speaker">Tullia.</span>
+Volō, mī pater, tē pācem habēre. Tua vīta tam perturbāta fuit. Nūbam,
+sed ō mē miseram!</p>
+
+<p class = "stagedir">
+(A knock is heard. Enter from the left L. Piso, Gaius Piso, and the
+<i>signatores</i>. They are greeted by Cicero and Terentia and seated by
+slaves.)</p>
+
+<p><span class = "speaker">Terentia</span>
+<span class = "stagedir">(as she receives them).</span> Multum salvēte,
+ō amīcī. Tulliae vix persuādēre poteram, tamen nōn iam invīta est.</p>
+
+<p><span class = "speaker">L. Piso.</span>
+Bene, bene, hīc est mihi diēs grātissimus. Parāta sunt omnia?</p>
+
+<p><span class = "speaker">Terentia.</span>
+Omnia parāta sunt, sed iūris cōnsultus nōndum vēnit.</p>
+
+<p><span class = "speaker">L. Piso.</span>
+Ille quidem ad tempus adesse pollicitus est.</p>
+
+<p><span class = "speaker">Terentia.</span>
+Id spērō. Tībīcinēs, Mārcipor, hūc arcesse. <span class =
+"stagedir">(Enter Q.&amp;nbsp;Hortensius and his wife, together with the
+pronuba and the <i>iuris consultus</i>.)</span> Salvēte, meī amīcī.
+Adsīdite sī placet.</p>
+
+<span class = "pagenum">29</span>
+<p><span class = "speaker">Iuris con.</span>
+Sī mihi veniam dabitis, nōn diū morārī velim. Īnstāns negōtium mē in
+forō flāgitat. Mihi mātūrandum est. <span class = "stagedir">(Goes to a
+table with M. Cicero and busies himself with the <i>tabulae
+nuptiales</i>.)</span></p>
+
+<p><span class = "speaker">L. Piso.</span>
+Mātūrēmus! Gāī et Tullia, ad mē venīte! <span class = "stagedir">(To
+Cicero.)</span> Spondēsne Tulliam, tuam fīliam, meō fīliō uxōrem
+darī?</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Dī bene vertant! Spondeō.</p>
+
+<p><span class = "speaker">L. Piso.</span>
+Dī bene vertant!</p>
+
+<p><span class = "speaker">G. Piso</span>
+<span class = "stagedir">(placing a ring on the fourth finger of
+Tullia’s left hand).</span> Hunc ānulum quī meum longum amōrem testētur
+aceipe. Manum, Tullia, tibi dō, et vim bracchiōrum et celeritātem pedum
+et glōriam meōrum patrum. Tē amō, pulchra puella. Tē ūnam semper amābō.
+Mihi es tū cārior omnibus quae in terrā caelōque sunt. Fēlīcēs semper
+sīmus!</p>
+
+<p><span class = "speaker">Iuris con.</span>
+Tabulae nūptiālēs sunt parātae et ecce condiciōnēs. <span class =
+"stagedir">(Reads.)</span> “Hōc diē, prīdiē Īdūs Aprīlēs, annō
+sescentēsimō nōnāgēsimō prīmō post Rōmam conditam, M. Tulliō Cicerōne
+Gāiō Antōniō cōnsulibus, ego M. Tullius Cicerō meam fīliam Tulliam Gāiō
+Calpurniō Lūcī fīliō Pīsōnī spondeō. Eam cum dōte dare spondeō. Ea dōs
+erit quīndecim mīlia sēstertium.” <span class = "stagedir">(Turning to
+Gaius.)</span> Gāī Pīsō, spondēsne tē Tulliam semper amātūrum
+cultūrumque?</p>
+
+<p><span class = "speaker">Gr. Piso.</span>
+Id spondeō.</p>
+
+<p><span class = "speaker">Iuris con.</span>
+Spondēsne tū, Tullia, tē Gāiō Pīsōnī semper obsecutūram esse?</p>
+
+<p><span class = "speaker">Tullia.</span>
+Id spondeō.</p>
+
+<p><span class = "speaker">Iuris con.</span>
+<span class = "stagedir">(stamping the <i>tabulae</i> with a
+seal).</span> Nuc subscrībite! Tū prīmus, Cicerō, deinde Terentia et
+Tullia et Gāius.</p>
+
+<span class = "pagenum">30</span>
+<p class = "stagedir long">
+(The <i>tibicines</i> play softly and the <i>servi</i> pass wine, dried
+fruit, and small cakes. Tullia, taking her glass of wine, steps forward
+and pours a little out as an offering to the gods. After the witnesses
+have signed in turn, the following words of congratulation are
+spoken.)</p>
+
+<p><span class = "speaker">Q. Hor.</span>
+Beātī vīvātis, Pīsō et Tullia! Omnēs spōnsō et spōnsae salūtem
+propīnēmus! <span class = "stagedir">(All drink to the health of the
+betrothed.)</span></p>
+
+<p><span class = "speaker">M. Cic. a.</span>
+Sint dī semper volentēs propitiīque ipsīs domuī familiaeque. Sit vōbīs
+fortūna benīgna!</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Tibi grātulor, Pīsō. Tū pulcherrimam et optimam puellam tōtīus Rōmae
+adeptus&nbsp;es.</p>
+
+<p><span class = "speaker">Pronuba.</span>
+Ō fortūnāte adulēscēns quī tālem puellam invēnerīs!</p>
+
+<p><span class = "speaker">Iuris con.</span>
+Sīgnāvēruntne omnēs? Tū, Quīnte Hortēnsī, nōndum subscrīpsistī.</p>
+
+<p><span class = "speaker">Q. Hor.</span>
+Id statim faciam. <span class = "stagedir">(Signs.)</span></p>
+
+<p><span class = "speaker">Pronuba.</span>
+Nunc omnēs cantēmus!</p>
+
+<p class = "stagedir">
+(All join in <a name = "song" id = "song">singing</a>, accompanied by
+the <i>tibicines</i>.)</p>
+
+<span class = "pagenum">[31]</span>
+
+<p class = "illustration">
+<img src = "images/music.png" width = "351" height = "469"
+alt = "music"></p>
+
+<p class = "mynote center">
+<a href = "music/weddingsong.midi">Listen</a> to music<br>
+Music in <a href = "music/weddingsong.pdf">PDF</a> format</p>
+
+
+<span class = "pagenum">32</span>
+<h4><a name = "wedding_2" id = "wedding_2">SECUNDA SCAENA</a><br>
+<span class = "subhead">NŪPTIAE</span></h4>
+
+<p class = "scenedesc">
+The house is adorned with wool, flowers, tapestry, and boughs.</p>
+
+<p class = "scenedesc">
+The Pontifex Maximus (wearing a white fillet) and the Flamen Dialis
+enter from opposite sides, each preceded by a lictor with fasces, who
+remains standing at the side of the stage, while the priests pass on to
+the altar. The Flamen burns incense. A&nbsp;slave brings in a pigeon on
+a silver tray and hands it to the Flamen, while another hands to the
+Pontifex from a basket a plate of meal and one with crackers.</p>
+
+<p class = "scenedesc">
+The priests, taking respectively the bird and the meal, hold them high
+above their heads and look up devoutly, after which the bridal party
+enters, from the left, in the following order:</p>
+
+<p class = "scenedesc">
+The bride, preceded by the pronuba, comes first. Both take their places,
+standing at the right of the altar; next the groom, preceded by the
+boys, takes his stand near the bride, a&nbsp;little to the left; the
+guests follow and are seated.</p>
+
+<p class = "scenedesc">
+Cicero hands wine to the priests, with which they sprinkle the
+sacrifices.</p>
+
+<p class = "scenedesc">
+As the Flamen again looks up and raises his hands above his head, all
+kneel except the priests and lictors, while he pronounces the following
+solemn words:</p>
+
+<p>Auspicia secunda sunt. Māgna grātia dīs immortālibus habenda est.
+Auspicia secunda sunt.</p>
+
+<p class = "scenedesc">
+After all have risen, the pronuba, placing her hands upon the shoulder
+of the bride and groom, conducts them to the front of the altar. There
+she joins their hands and they walk around the altar twice, hand in
+hand, stopping in front when the ceremony proper begins.</p>
+
+<p class = "scenedesc">
+Again the Flamen says:</p>
+
+<p>Auspicia secunda sunt.</p>
+
+<p class = "scenedesc">
+The Pontifex hands the groom a cracker, of which he partakes, passing it
+on to the bride. The pronuba puts back the veil, and after the bride has
+eaten the cracker she says to the groom:</p>
+
+<span class = "pagenum">33</span>
+<p>Ubi tū Gāius, ego Gāia.</p>
+
+<p class = "scenedesc">
+Both are then conducted by the pronuba to two chairs, placed side by
+side, at the right of the altar, covered with the skin of a sheep. They
+face the altar and the pronuba covers their heads with a large veil.
+(Place the same veil over both.)</p>
+
+<p><span class = "speaker">Pontifex Maximus</span>
+<span class = "stagedir">(making an offering of meal to
+Jupiter)</span>.</p>
+
+<div class = "verse">
+<p>Iuppiter omnipotēns dīvum pater atque hominum rēx,</p>
+<p>Hōs spōnsōs bene respiciās, faveāsque per annōs.</p>
+<p>Iuppiter omnipotēns, precibus sī flecteris ūllīs</p>
+<p>Aspice eōs, hōc tantum, et sī pietāte merentur,</p>
+<p>Dā cursum vītae iūcundum et commoda sparge</p>
+<p>Multa manū plēnā; vīrēs validāsque per mensēs</p>
+<p>Hī habeant, puerōs pulchrōs fortēsque nepōtēs.</p>
+<p>Rēbus iūcundīs quibus adsīs Iuppiter semper.</p>
+</div>
+
+<p><i>Flamen Dialis.</i></p>
+
+<div class = "verse">
+<p>Iūnō quae incēdis dīvum rēgīna Iovisque</p>
+<p>Coniunx et soror, hōs spōnsōs servā atque tuēre.</p>
+<p>Sint et fēlīcēs, fortēs, pietāte suprēmī;</p>
+<p>Māgnā cum virtūte incēdant omnibus annīs,</p>
+<p>Semper fortūnātī, semper et usque beātī.</p>
+</div>
+
+<p class = "stagedir">
+(The pronuba now uncovers the heads of the wedded pair and they receive
+congratulations.)</p>
+
+<p><span class = "speaker">L. Piso.</span>
+Beātī vīvātis, Gāī et Tullia!</p>
+
+<p><span class = "speaker">Terentia.</span>
+Vōbīs sint dī semper faustī!</p>
+
+<p><span class = "speaker">M. Cic. a.</span>
+Vōbīs ambōbus grātulor. Sed nūlla rēs levis est mātrimōnium. Quid,
+Tullia?</p>
+
+<p><span class = "speaker">Tullia.</span>
+Rēctē dīcis, frāter, mātrimōnium nōn in levī habendum est.</p>
+
+<p><span class = "speaker">M. Cic.</span>
+Sint omnēs diēs fēlīcēs aequē ac hīc diēs.</p>
+
+<p><span class = "speaker">Pronuba.</span>
+Spērō, meī amīcī, omnēs diēs vōbīs laetissimōs futūrōs esse.</p>
+
+<p class = "stagedir">
+(The curtain falls. The priests and lictors retire, all the rest, except
+Terentia and Tullia, keeping the same position for the next scene.)</p>
+
+
+<span class = "pagenum">34</span>
+<h4><a name = "wedding_3" id = "wedding_3">SCAENA TERTIA</a><br>
+<span class = "subhead">DĒDUCTIŌ</span></h4>
+
+<p class = "scenedesc">
+The guests are sitting about the room. The bride is sitting on her
+mother’s lap. Her wedding ornaments have been taken off and she is
+closely veiled. The groom takes her as if by force from her mother’s
+arms.</p>
+
+<p><span class = "speaker">Tullia.</span>
+Ō māter, māter, nōlō ā tē et patre meō discēdere. Ō, mē miseram!</p>
+
+<p><span class = "speaker">Terentia.</span>
+Ī, fīlia, ī! Saepe tuōs parentēs et frātrem vīsere poteris. Necesse est
+nunc cum marītō eās.</p>
+
+<p><span class = "speaker">G. Piso.</span>
+Mihi, Tullia, cārior vītā es. Tē <ins class = "correction"
+title = "text reads ‘non’">nōn</ins> pigēbit coniugem meam fierī.
+Id polliceor. Mēcum venī, Tullia cārissima!</p>
+
+<p><span class = "speaker">Tullia.</span>
+Sīc estō. Prius mustāceum edendum est. <span class = "stagedir">(She
+cuts the wedding cake and all partake.)</span></p>
+
+<p><span class = "speaker">L. Pisonis uxor.</span>
+Hōc mustāceum optimum est. Hōc fēcistīne tū, Tullia?</p>
+
+<p><span class = "speaker">Tullia.</span>
+Nihil temporis habēbam quō mustāceum facerem. Multa mihi ūnō tempore
+agenda erant.</p>
+
+<p><span class = "speaker">Terentia.</span>
+Tullia mustāceum facere potest sī spatium datur.</p>
+
+<p><span class = "speaker">M. Cic. a.</span>
+<span class = "stagedir">(taking another piece of cake).</span> Tullia
+est dēliciae puellae. Sī ūnum modo mustāceum habēmus, ad novam domum
+Tulliae proficīscāmur.</p>
+
+<p><span class = "stagedir">(Others cry out)</span> Eāmus!</p>
+
+<p class = "scenedesc">
+The curtain falls. A frame to represent the door of a Roman house is
+placed to the left of the stage; a&nbsp;small altar stands at
+<span class = "pagenum">35</span>
+the right: a&nbsp;circular piece of wood with holes bored in it as a
+receptacle for the torches (common wax candles) is placed on top of the
+altar used by the priests. The procession to the groom’s house advances
+from the left in the following order:</p>
+
+<p class = "scenedesc">
+The flute-players first, followed by a lad carrying a torch and vase;
+next the bride, supported on either side by a boy; the groom, throwing
+nuts to those in the street, walks at the side; a&nbsp;boy follows,
+carrying the bride’s spindle; the others follow, two by two, all
+carrying torches and singing:</p>
+
+<div class = "verse">
+<p>Hespere, quī caelō fertur crūdēlior īgnis?</p>
+<p>Quī nātam possīs complexū āvellere mātris,</p>
+<p>Complexū mātris retinentem āvellere nātam</p>
+<p>Et iuvenī ārdentī castam dōnāre puellam.</p>
+<p>Quid faciunt hostēs captā crūdēlius urbe?</p>
+<p>Hȳmēn ō Hymenaee, Hȳmēn ades ō Hymenaee.</p>
+</div>
+
+<p class = "scenedesc">
+When the groom’s house is reached, the bride winds the door posts with
+woolen bands and anoints them with oil to signify health and plenty. She
+is then lifted over the threshold by two boys to prevent possible
+stumbling. The groom, Cicero, Terentia, L. Piso and his wife, enter the
+house and place their torches on the altar; the others remain standing
+outside. All continue singing, accompanied by the flute-players, until
+after the groom hands to the bride a dish, on which incense is burning,
+and a bowl of water, which both touch in token of mutual purity, and
+Tullia again repeats the words:</p>
+
+<p>Ubi tū Gāius, ego Gāia.</p>
+
+<p><span class = "speaker">G. Piso</span>
+<span class = "stagedir">(presenting to her the keys, which she fastens
+in her girdle).</span> Sit fēlīx nostra vīta! Clāvēs meae domūs, mea
+uxor, accipe!</p>
+
+<p class = "scenedesc">
+Tullia kindles the fire on the altar with her torch, and then throws it
+to a girl outside. The girl who catches the torch exclaims:</p>
+
+<span class = "pagenum">36</span>
+<p>Ō, mē fēlicissimam! proxima Tulliae nūbam.</p>
+
+<p class = "stagedir">
+(Tullia kneels at the altar and offers prayer to Juno.)</p>
+
+<div class = "verse">
+<p>Iūnō, es auctor mūnerum,</p>
+<p>Iūnō, māter omnium,</p>
+<p>Nōbīs dā nunc gaudium.</p>
+<p>Iūnō, adiūtrīx es hominum,</p>
+<p>Iūnō, summa caelitum,</p>
+<p>Nōbis sīs auxilium.</p>
+</div>
+
+<p>&nbsp;</p>
+
+<span class = "pagenum">37</span>
+
+<p class = "illustration">
+<img src = "images/pic37.png" width = "333" height = "414"
+alt = "see caption"></p>
+
+<p class = "center">
+<span class = "smallcaps">Roman Marriage</span></p>
+
+<h4><a name = "wedding_costumes" id = "wedding_costumes">
+COSTUMES AND SUGGESTIONS</a></h4>
+
+<p>The bride wears a white dress trimmed with purple fringe, a girdle of
+crimson wool, and a long yellow veil. She has on many bright-colored
+ribbons, many bracelets and rings, and high yellow shoes with buckles.
+Her hair is arranged in six locks parted by the point of a spear and
+held in place by <i>vittae</i> or bands.</p>
+
+<p>The Pontifex should have a band of purple three inches wide around
+the bottom of his toga.</p>
+
+<p>The boys should wear straight robes reaching to the knee and gathered
+at the shoulders. The garb of the statue “Diana of the Hind” is a good
+illustration.</p>
+
+<p>The slaves wear bright-colored tunics reaching to the knees.</p>
+
+<span class = "pagenum">38</span>
+<p>Valuable suggestions may be found in Johnston’s “Private Life of the
+Romans,” “Harper’s Dictionary of Classical Antiquities,” and <i>Harper’s
+Magazine</i>, Vol.&nbsp;46.</p>
+
+<p>The individual parts should be thoroughly learned and practiced
+before a full rehearsal is attempted.</p>
+
+<p>Especial emphasis should be placed upon the necessity of reciting the
+parts slowly and distinctly.</p>
+
+<p>The signing of the <i>tabulae nuptiales</i> was a part of the
+<i>nuptiae</i>, but it has been introduced during the <i>sponsalia</i>
+to give better balance to the play. Wherever permissible, very simple
+Latin has been used in order to render the task of memorizing as easy as
+possible.</p>
+
+
+<h5><a name = "wedding_costumes1" id = "wedding_costumes1">
+SCENE I</a><br>
+<span class = "subhead">SPONSALIA&mdash;BETROTHAL</span></h5>
+
+<p>Cicero’s house. Terentia complains that Cicero neglects her and that
+he devotes too much time to the prosecution of Catiline and to study.
+The school report (renuntiatio) of her son, the young Cicero, also
+causes her anxiety. Marcus junior adds to her anxiety by affirming that
+he wishes to become an orator like his father. He promises, however,
+that he will study his geometry more diligently and thereby gain the
+reward offered by Cicero. Lucius Piso calls at Cicero’s home to ask the
+hand of Tullia for his son Gaius Piso. Terentia is pleased with the
+prospect of marrying her daughter so well. Tullia herself and Cicero
+prefer to wait until Tullia is older. Tullia says she can sympathize
+with Servilia and others who have no girlhood on account of marrying so
+young; but finally she yields to her mother’s wish and consents to
+become betrothed to Gaius. The witnesses arrive and the betrothal
+(sponsalia) takes place. The marriage contract (tabulae nuptiales) is
+signed, showing the amount of dowry. Refreshments are partaken of,
+following a libation in honor of the gods. Congratulations are offered
+and the wedding hymn is sung.</p>
+
+
+<span class = "pagenum">39</span>
+<h5><a name = "wedding_costumes2" id = "wedding_costumes2">
+SCENE II</a><br>
+<span class = "subhead">NUPTIAE&mdash;WEDDING CEREMONY</span></h5>
+
+<p>The auspices are taken and pronounced favorable. The groom and bride
+assume the names of Gaius and Gaia, respectively. These particular names
+were chosen, according to some, out of respect to the noted spinner
+Gaius and his royal wife, who were held by the Romans as a pattern of
+conjugal fidelity and skilled industry; according to others, because of
+the derivation from <i>gaudere</i>. Tullia with the words “Ubi tu Gaius,
+ego Gaia” (where you are Gaius, I&nbsp;am Gaia) signifies her
+willingness to enter the gens of her husband. The eating of the cake
+presented by the Pontifex (confarreatio) is the most important part of
+the ceremony, suggesting the sacramental view of marriage. The skin upon
+which the bride and groom are seated is supposed to be that of the sheep
+sacrificed before the ceremony begins. Prayer is offered to Jupiter by
+the Pontifex, and to Juno by the Flamen Dialis, after which
+congratulations are offered.</p>
+
+
+<h5><a name = "wedding_costumes3" id = "wedding_costumes3">
+SCENE III</a><br>
+<span class = "subhead">DEDUCTIO&mdash;PROCESSION TO THE GROOM’S
+HOUSE</span></h5>
+
+<p>The bride is taken, to all appearances, by force from her mother’s
+embrace,&mdash;a&nbsp;survival of the marriage by capture, or, as the
+Romans themselves put it, a&nbsp;reminiscence of the Sabine marriage.
+The <i>mustaceum</i>, or wedding cake, is eaten, and the procession
+begins, all singing the wedding hymn. The groom throws nuts to the boys
+in the street as a sign that he will now put away childish things.
+Arriving at the groom’s house, the bride anoints the doorposts with oil
+to signify health and plenty, and then offers a prayer for future
+happiness.</p>
+
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Two Latin Plays for High-School
+Students, by Susan Paxson
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+</pre>
+
+</body>
+</html>
diff --git a/31894-h/images/bracket3.gif b/31894-h/images/bracket3.gif
new file mode 100644
index 0000000..9d3c0d0
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+++ b/31894-h/images/bracket3.gif
diff --git a/31894-h/images/dots.gif b/31894-h/images/dots.gif
new file mode 100644
index 0000000..b9102e4
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+++ b/31894-h/images/dots.gif
diff --git a/31894-h/images/music.png b/31894-h/images/music.png
new file mode 100644
index 0000000..a226bb0
--- /dev/null
+++ b/31894-h/images/music.png
diff --git a/31894-h/images/pic16.png b/31894-h/images/pic16.png
new file mode 100644
index 0000000..01aaeb4
--- /dev/null
+++ b/31894-h/images/pic16.png
diff --git a/31894-h/images/pic37.png b/31894-h/images/pic37.png
new file mode 100644
index 0000000..5351432
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diff --git a/31894-h/music/weddingsong.ly b/31894-h/music/weddingsong.ly
new file mode 100644
index 0000000..b7d4b97
--- /dev/null
+++ b/31894-h/music/weddingsong.ly
@@ -0,0 +1,49 @@
+\version "2.10.25" 
+\include "english.ly"
+
+
+melody = \relative ef'
+<<
+  { 
+  \tempo 4=90  
+  \autoBeamOff
+  \once \override Score.MetronomeMark #'transparent = ##t
+  \clef treble
+  \key af \major
+  \time 2/4
+  ef8. c'16 c8 bf | bf8. af16 af8 af | af8. g16 fs8 g | df'4 df |
+  df,16 ef g bf bf8 df | c4 bf | \acciaccatura c8 bf8 af f af | ef2 |
+  \acciaccatura ef8 c8. ef16 af8 c | bf8. af16 af8 af |
+     \acciaccatura bf af8. g16 fs8 g | df2 |
+  df16 ef g bf bf8 df | c8. bf16 bf8 c |
+    bf8 \melisma af \melismaEnd g af | ef'4 ef |
+  c,8. ef16 af8 c | df8. c16 c8 c | c8. bf16 a8 bf | f'4 f |
+  ef8 ef16 ef c8 af | g4 f |
+  f'4 df8 bf | af4( g4) | df'4 df8 c8 | af4. af8  }
+
+  \addlyrics
+    {
+  Hes -- pe -- re, qui cæ -- lo fer -- tur cru -- de -- li -- or
+    ig -- nis?
+  Qui na -- tam pos -- sis com -- plex -- u avel -- le -- re
+    ma -- tris,
+  Complex -- u ma -- tris re -- ti -- nen -- tem avel -- le -- re
+    na -- tam
+  Et iu -- ve -- ni ar -- den -- ti cas -- tam do -- na __ re
+    pu -- el -- lam.
+  Quid fa -- ci -- unt hos -- tes cap -- ta cru -- de -- li -- us ur -- be?
+  Hy -- men O Hy -- me -- næ -- e,
+  Hy -- men ad -- es O Hy -- me -- næ -- e.
+    } 
+  >>
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score %{tempoWholesPerMinute = #(ly:make-moment 60 4)%} } 
+  }
+}
diff --git a/31894-h/music/weddingsong.midi b/31894-h/music/weddingsong.midi
new file mode 100644
index 0000000..e4e344f
--- /dev/null
+++ b/31894-h/music/weddingsong.midi
diff --git a/31894-h/music/weddingsong.pdf b/31894-h/music/weddingsong.pdf
new file mode 100644
index 0000000..6f38915
--- /dev/null
+++ b/31894-h/music/weddingsong.pdf
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
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diff --git a/README.md b/README.md
new file mode 100644
index 0000000..4809bfe
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #31894 (https://www.gutenberg.org/ebooks/31894)