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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/31894-0.txt b/31894-0.txt new file mode 100644 index 0000000..41b9f93 --- /dev/null +++ b/31894-0.txt @@ -0,0 +1,1877 @@ +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 +apostrophes and quotation marks in this paragraph appear as garbage, +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: + https://www.gutenberg.org/3/1/8/9/31894/ + +Produced by Louise Hope, David Starner, Chuck Greif and +the Online Distributed Proofreading Team at +https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/31894-0.zip b/31894-0.zip Binary files differnew file mode 100644 index 0000000..6090042 --- /dev/null +++ b/31894-0.zip diff --git a/31894-8.txt b/31894-8.txt new file mode 100644 index 0000000..748ec40 --- /dev/null +++ b/31894-8.txt @@ -0,0 +1,1871 @@ +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 Athenum 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, Iam glad to +stand godfather to this little book of original Latin plays. They are +the product of an enthusiastic teacher coperating 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, aclassical 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, alive Latin +club has originated in an exceptionally strong Csar 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 +Csar 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, "ARoman School" and "ARoman 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. + + + + + DRMATIS PERSNAE + + Magister + Serv + Paedaggus + Aulus Licinius Archis } _idics_ + Pblius Licinius Crassus } + Gius Licinius Crassus, _adulscns_ + + _Discipul_ + + Mrcus Tullius Cicer + Quntus Tullius Cicer + Lcius Sergius Catilna + Mrcus Antnius + Gius Ilius Caesar + Appius Claudius Caecus + Gnaeus Pompius + Pblius Cldius Pulcher + Mrcus Inius Brtus + Quntus Hortnsius Hortalus + Lcius Licinius Lcullus + Gius Claudius Mrcellus + Mrcus Claudius Mrcellus + + + + +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 meliribus! + +_M. Ant._ T, Mrce, pilam nn rct 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 +plstellumd. + +_L. Luc._ Nn, hc plstellum est meum. S t plstellum cupis, domum +reversus inde pete. + +_M. Mar._ Mihi t nn grtus es, Lc Lculle. + + (The _Magister_ enters and loudly calls the roll, those present + answering _adsum_.) + +_Mag._ Mrcus Tullius Cicer. + Quntus Tullius Cicer. + Lcius Sergius Catilna. + + (Catilina is absent and all shout _abest_.) + + Mrcus Antnius. + Gius Claudius Mrcellus. + Gius Ilius Caesar. + Appius Claudius Caecus. + + (Appius is absent and all again shout _abest_.) + + Lcius Licinius Lcullus. + Gnaeus Pompius. + Pblius Cldius Pulcher. + Mrcus Inius Brtus. + Quntus Hortnsius Hortalus. + Mrcus Claudius Mrcellus. + +Nunc, puer, percipite, quaes, dligenter, quae dcam, et ea penitus +anims vestrs mentibusque mandte. Sine mor respondte. (Writes on the +board the sentence "Omns rs d regunt.") Nmen _d_, Mrce Cicer, +dscrbe. + +_M. Cic._ D est nmen, est dclntinis secundae, generis masculn, +numer plrlis, css nmintv, ex rgul prm, quae dcit: Nmen +quod subiectum verb est, in cs nmintv pnitur. + +_Mag._ Bene, Mrce, bene! lim eris t mgnus vir, eris cnsul, eris +rtor clrissimus, quod tam dligns es. Qunte Cicer! (Enter Catilina +late. He is accompanied by a _paedagogus_ carrying a bag with +_tabellae_.) puer piger, hom perditissimus eris. Qu usque tandem +abtre, Catilna, patienti nostr? Vpulbis. + +_L. Cat._ magister, mihi parce, frg er, frg er. + +_Mag._ Catilna, mre et exempl popul Rmn, tibi nll mod parcere +possum. Accdite, 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. +Qunte Cicer, verbum _regunt_ dscrbe. + + [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 coniugtinis +secundae, coniugtinis secundae, coniugtinis se... + +_Mag._ Male, Qunte. T es minus dligns frtre tu Mrc. Nescs +quantum m hius negt taedeat. S pnsum crs nn cnfceris, est mihi +in anim ad tuum patrem scrbere. Haec nl iocor. Tuam nquitiam nn +ditius feram, nn patiar, nn sinam. + +_Q. Cic._ d immortls, tlem vertite csum et servte pis puers, +quamquam pigr sunt. + +_Mag._ Qunte Hortns, verbum _regunt_ dscrbe. + +_Q. Hor._ _Regunt_ est verbum; praesns est _reg_; nfntvus, +_regere_; perfectum, _rx_; supnum, _rctum_. Est coniugtinis +tertiae, generis actv, mod indictv. + +_Mag._ Rct, rct, Qunte! Bonus puer es. Gnae Pomp, perge. + +_Gn. Pom._ (crying). Nn 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; persnae tertiae; numer plrlis nmen sequns, ex +rgul secund, quae dcit: Verbum persnam numerumque nminis sequitur. + +_Mag._ Rct! Nnne tibi dx t rem expnere posse? Nihil agis, Gnae +Pomp, nihil mlris, nihil cgits, quod nn ego nn modo audiam, sed +etiam videam plnque sentiam. G Mrcelle, tempus futrum flecte. + +_G. Mar._ _Regam_, _regs_, _reget_, _regmus_, _regtis_, _regent_. + +_Mag._ Quae pars rtinis est _omns_, G? + +_G. Mar._ _Omns_ est adiectvum. + +_Mag._ Rct; estne _omns_ dclnbile an indclnbile, Pbl Pulcher? + +_P. Pul._ _Omns_ est dclnbile, _omnis_, _omne_. + +_Mag._ In qu cs est _omns_, Mrce Brte? + +_M. Bru._ _Omns_ est css accstv ex rgul quae dcit: Nmen +adiectvum csum et genus nminis substantv sequitur. + +_Mag._ Cius dclntinis est _omns_, Mrce Mrcelle? + +_M. Mar._ _Omns_ est dclntinis tertiae. + +_Mag._ Potesne omns dclnre? + +_M. Mar._ Oppid, magister, auscult. (Declines _omnis_.) + +_Mag._ Mrcus Claudius, su mre, optim fcit. Quam cnstrctinem +habet _rs_, Mrce Brte? + +_M. Bru._ _Rs_ est nmen css accstv, quod obiectum verb _regunt_ +est. (Enter Appius Caecus late. His _paedagogus_ accompanies him.) + +_Paed._ Magister, Appius Claudius hodi mne aeger est, idcirc tard +venit. (Exit.) + +_Mag._ Poens d, "Mic, Mic," recit. + +_App. Caec._ Mic, mic, parva stella, + Mror quaenam ss, tam bella! + Splendns minus in ill + Alba velut gemma cael. + + Quand fervns Sl discessit, + Nec calre prta pscit, + Mox ostendis lmen prum + Micns, micns per obscrum. + +_Mag._ Quis alius recitre potest? + +_All_ (shouting). Ego possum, ego possum. + +_Mag._ Bene; Mrce Antn, recit. + +_M. Ant._ Trs philosoph d Tuscul + Mare nvigrunt vscul; + S vs fuisset ttius + Tibi canerem ditius. + +_Others_ (shouting). Mihi recitre liceat. + +_Mag._ Recit, Gnae Pomp. + +_Gn. Pom._ Ianns, Ioanns, tbcine ntus, + Fgit perniciter porcum frtus. + Sed porcus vortus, Ianns dltus, + Et plrns per vis it fr, flagelltus. + +_M. Bru._ (holding up his hand). Novum carmen ego possum recitre. + +_Mag._ Et t, Brte! Perge! + +_M. Bru._ Gius cum Gi in montem + Veniunt ad hauriendum fontem; + Gius prlpsus frgit frontem, + Trxit scum Giam nsontem.[3] + + [Footnote 3: Here, as well as elsewhere, remember that _Gius_ and + _Gia_ are each three syllables.] + +_Mag._ Hc satis est hodi. Nunc, puer, cor-- Quid tibi vs, Qunte +Hortns? Facis ut tt corpore contremscam. + +_Q. Hor._ (who has been shaking his hand persistently). Magister, +ego novs verss prnntire possum. Soror mea es m docuit. + +_Mag._ Recit celeriter. + +_Q. Hor._ Iacbulus Horner + Sedbat in corner + Edns Sturnlicium pie; + nseruit thumb, + Extrxit plum, + Clmns, Quam cer puer sum I. + +_Mag._ Nunc, puer, corpora exercte. 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._ Cnsdite. Pnsum crstinum est pnsum decimum. Cavte n hc +oblvscmin. Pnsum crstinum est pnsum decimum. Et porr hunc versum +discite: "Superanda omnis fortna 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 +gegraphia nbs cnsderanda est et Galliae opera danda. Quid d Galli +potes t dcere, Mrce Mrcelle? + +_M. Mar._ Gallia est omnis dvsa in parts trs, qurum nam incolunt +Belgae, aliam Aqutn, tertiam qu ipsrum lingu Celtae, nostr Gall +appellantur. + +_Mag._ Pbl Pulcher, hrum omnium, qu fortissim sunt? + +_P. Pul._ Hrum omnium fortissim sunt Belgae. + +_Mag._ Mihi dc cr Belgae fortissim sint. + +_P. Pul._ Belgae fortissim sunt proptere quod cult atque hmnitte +Rmae longissim absunt, minimque ad es merctrs Rmn saepe +commeant atque ea quae ad effminands anims pertinent, important. + +_Mag._ Quis fns Galliae dsgnre potest? + +_All_ (raising hands). Ego, ego possum. + +_Mag._ Lc Lculle, Galliae fns dsgn. + +_L. Luc._ Gallia initium capit flmine Rhodan; contintur Garumn +flmine, cean, fnibus Belgrum; attingit flmen Rhnum ab Squans et +Helvtis; vergit ad septentrins. + +_Mag._ Qus des colunt Gall, Gnae Pomp? + +_Gn. Pom._ Derum maxim Mercurium colunt; hunc omnium inventrem artium +ferunt, hunc virum atque itinerum ducem esse arbitrantur. Post hunc +Apollinem et Martem et Iovem et Minervam colunt. + +_Mag._ Bene, Gnae. Quem deum, Catilna, colunt Rmn maxim? + +_L. Cat._ Ns Iovem dvum patrem atque hominum rgem maxim colimus. + +_Mag._ Nunc, puer, cantte. Quod carmen hodi cantmus? (Many hands are +raised.) G Caesar, quod carmen t cantre vs? + +_G. Caes._ Vol "Mlits Chrstin" cantre. + +_Mag._ Hc pulcherrimum carmen cantmus. (A knock is heard. Enter +Publius Licinius Crassus and Aulus Licinius Archias with slaves carrying +scrolls.) Salvte, amc. Vs advnisse gaude. Nnne adsdtis ut +puers cantre auditis? + +_A. Archias._ Iam rct, carmen sn audimus. + +_Mag._ Optim, puer, cantmus. 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.] + + Mlits Chrstin, + Bell pergite; + Cram Is crucem + Vs prvehite. + Chrstus rx, magister, + Dcit gmina, + Eius iam vxillum + It in proelia. + + Mgnum gmen movet + De ecclsia. + Gradimur snctrum, + Frtrs, smit. + Nn dvs sumus, + nus omns ns; + nus sp, doctrn, + Critte ns. + + Thron atque rgna + nstbilia, + Sed per Isum cnstns + Stat ecclsia. + Portae nn gehennae + Illam vincere, + Nec prmissus Is + Potest fallere. + + Popule, bets + Vs coniungite! + Carmina triumph + n canite; + Chrst rg honor, + Lauds, glria, + Angel hc canent + Saecla omnia. + +_Mag._ Iam, puer, silenti fact, Gius Ilius Caesar nbs suam +rtinem habbit quam d ambitine su composuit. Hc rtine fnt, +Mrcus Tullius Cicer suam habbit. Ut prnntitum est complribus +dibus ante, h duo puer d praemi inter s contendunt. Hc di +flcissim duo clrissim et honestissim vir arbitr sunt, Aulus +Licinius Archis et Pblius Licinius Crassus. In rstra, G Il +Caesar, scende! + +_G. Caes._ (Reads from a scroll or recites.) Mea cra ambiti est +pertus dux mlitum fier. Bella multa et mgna cum gentibus omnibus +ntinibusque orbis terrae gerere cupi. + +Bellum nferre vol Germns et nsulae Britanniae omnibusque populs +Galliae et cters qu inimc anim in populum Rmnum sunt. In prms, +in nsulam Britanniam pervenre cupi, quae omnis fer Rmns est +incgnita, et cgnoscere quanta sit mgnitd nsulae. + +Vol pontem in Rhn aedificre et mgnum exercitum trdcere ut metum +ills Germns quibus nostra parvula corpora contemptu sunt iniciam. +Ubi Rhnum ego trnsier, nn ditius glribuntur ill Germn +mgnitdine surum corporum. + +Vs sententiam rog, idics amplissim, nnne est haec ambiti honesta? + +Deinde rs gests mes perscrbam. Negtium hius historiae legendae +puers dab mentium exercendrum caus, nam mihi crdite, commentri d +bell Gallic tils erunt ad ingenia acuenda puerrum. (_Discipuli_ +applaud.) + +_Mag._ Nunc Mrcus nbs d su crissim ambitine loqutur. In rstra +scende, Mrce! + +_M. Cic._ Quoad longissim potest mns mea respicere et ultimam memoriam +recordr, haec mea ambiti fuit, ut m ad scrbend studium cnferam, +prmum Rmae, deinde in alis urbibus. + +Ambiti mea autem est omnibus antecellere ingen me glri, ut haec +rti et facults, quantacumque in m sit, numquam amcrum perculs +dsit. Nnne est haec ambiti maximum incitmentum labrum? + +Deinde, haec est mea ambiti, ut cnsul sim. D me amre glriae vbs +cnfitbor. Vol pots reperre qu ad glriam me cnsults +celebrandam omne ingenium cnferant. Nihil m mtum poterit dlectre, +nihil tacitum. Quid enim, nnne dsderant omns glriam et fmam? Quam +mults scrptrs rrum suram mgnus ille Alexander scum habuisse +dcitur! Itaque, ea verba quae pr me cnsutdine breviter +simpliciterque dx, arbitr, cnfd probta esse omnibus. (_Discipuli_ +applaud.) + +_Mag._ Ut vidtis, arbitr clrissim, puer nxis anims vestrum +dcrtum exspectant. Quae cum ita sint, pet vbs, ut testimnium +laudis dtis. + +_A. Archias._ Ambs puers, magister, maxim laudamus, sed nus slus +praemium habre potest. Ns nn dcernere possumus. Itaque dcrvimus ut +h puer amb inter s sortiantur uter praemium obtineat. Serv, urnam +prferte! Nmina in urnam iaciam. Qu habet nmen quod prmum dcam, is +vctor erit. (Takes from the urn a small chip and reads the name _Marcus +Tullius Cicero_.) T, Mrce Cicer, victrem esse prnnti. Sc fta +dcrvrunt. Serv, cornam ferte! (Places a wreath of leaves on the +head of Marcus. The _discipuli_ again applaud.) + +_M. Cic._ (going up to Csar). Caesar, nl anim frang. Nn dubium est +qun t melirem rtinem habuers. + +_G. Caes._ (coolly). Ds aliter vsum est. + +_Mag._ Vs amb, G et Mrce, honr huic scholae estis. Utinam cter +vs imitentur. Aliud certmen hius mod mox habbimus. Loqumur d-- +(Aknock is heard. Enter Gaius Licinius Crassus.) + +_G. Cras._ M pater! + +_P. Cras._ M fl! (They embrace.) + +_G. Cras._ Mter mea mihi dxit t arbitrum in hc certmine hodi esse. +T ditius exspectre nn potu. Iam di t vidre cupi et ego quoque +cupi hc certmen audre. Estne cnfectum? + +_P. Cras._ Cnfectum est. Utinam h puer t recitre audiant! T es +docre posss qumodo discipul Rhodi in schol recitent. + +_M. Cic._ arbiter, nbs grtissimum sit, s tuum flium audre +possmus. + +_Discipuli_ (eagerly). Crasse, recit, recit! + +_G. Cras._ S vbs id placet, recitb, meum tamen carmen longum est. +ius titulus est "Pome of a Possum." (Recites with gesticulation.) + + The nox was lit by lx of lna, + And 'twas a nox most opportna + To catch a possum or a coona; + For nix was scattered o'er this mundus, + A shallow nix, et nn profundus. + On sc 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 hc bonus dog et clever. + Some used to say, in stultum iocum, + Quod a field was too small locum + For sc a dog to make a turnus + Circum self from stem to sternus. + This bonus dog had one bad habit, + Ambat much to chase a rabbit; + Ambat pls to catch a rattus, + Ambat 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 vnit hellum. + Quickly ran uterque puer + Mors of possum to secure. + Cum venrunt, 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 nn longius tarry, + Possum potest nn pgnre; + 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, narrbunt story, + Plnus blood et plnior glory. + Pompey, David, Samson, Caesar, + Cyrus, Black Hawk, Shalmaneser! + Tell me where est now the glria, + Where the honors of vctria? + + Cum ad domum nrrant story, + Plnus sanguine, tragic, gory, + Pater praiseth, likewise mter, + Wonders greatly younger frter. + 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 lx of morning, + Albam terram much adorning, + Up they jump to see the varmen + Of which this here is the carmen. + Possum, lo, est resurrctum! + Ecce puerum diectum! + Nn relinquit track behind him, + Et the puer never find him; + Cruel possum, bstia vilest, + How t puers beguilest; + Puer think nn pls of Csar, + Go ad Orcum, Shalmaneser, + Take your laurels, cum the honor, + Since istud possum is a goner![5] + + [Footnote 5: Anonymous.] + + (_Discipuli_ applaud.) + +_Mag._ Omns qu Gi Crass grtis agere velint, surgite! (All stand.) +Nunc, puer, domum redte. + +_Discipuli_ (departing). + + Omne bene, + Sine poen + Tempus est ldend; + Vnit hra + Absque mor + Librs dpnend. + +Val, magister. Val, magister. + + + + +COSTUMES + + +The _magister_, _iudices_, and _discipuli_ should all wear white togas +with a purple[6] border. Awhite 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 prma: Spnslia + Scaena secunda: Nptiae + Scaena tertia: Dducti + + + DRMATIS PERSN + + Spnsa: Tullia + Spnsus: Gius Ps + Spnsae pater: Mrcus Tullius Cicer + Spnsae mter: Terentia + Spns pater: Lcius Pso Frg + Spns mter + Spnsae frter: Mrcus Tullius Cicer, adulscns + Flmen Dilis + Pontifex Maximus + Iris cnsultus + Quntus Hortnsius + Prnuba + Sgntrs + Tbcins + Lctrs + + Mrcipor } + Philotmus } Serv + Tr } + Anna } + + + + +A ROMAN WEDDING + + +SCAENA PRMA + +SPNSLIA + + Let the curtain be raised, showing a room furnished as nearly as + possible like the atrium of a Roman house. Abench, 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 pblicam miserbilem! Qu r, Quirts, dubittis? Ԡd +immortls! Ubinam gentium sumus? In qu urbe vvimus? Quam rem pblicam +habmus? Vvis, et vvis nn ad dpnendam sed ad cnfrmandam tuam +audciam. + + (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 mlris, nihil cgits quod nn ego nn modo audiam, +sed videam. Quae cum ita sint, Catilna, ex urbe gredere; patent +portae, proficscere. Mgn m met lberbis dum modo inter m atque t +mrus intersit. Quid est enim, Catilna, quod t iam in hc urbe +dlectre possit? Quamquam quid loquor? T ut lla rs frangat? +(Acrash, similar to that of falling china, is heard.) + +_Terentia._ Quid est? Vid, Mrcipor! + + (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 rtinem medittur, vs quod ipse +tibi Graeci attulit, mans gest dmltus est. + +_Terentia_ (groaning). Lege, Philotme, omnia fragmenta. (Exit Phil.) +Mihi, Mrcipor, fer cistam ex alabastrt factam. (Exit Mar.) +(Toherself.) Tam molestum est rtr npsisse. (Covers her face with +her hands, as if weeping.) + +_M. Cic._ (proceeding with his practicing). Atque hc quoque m n +togt factum est. Mrce Tull, quid agis? Interfectum esse Lcium +Catilnam iam prdem oportbat. Quid enim mal aut sceleris fing aut +cgitr potest quod ille nn concperit? Ԡrem pblicam fortntam, +praeclram laudem me cnsults, s ex vt ille exierit! Vix feram +sermns hominum, s id fcerit. (Enter Marcipor with a small box.) + +_Mar._ Hc 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 +crissima, sum miserrimus. Utinam dom tcum semper manrem. Quod cum +nn possit, ad m cotdi litters scrbe. Cr ut vales et ita tibi +persud, mihi t crius nihil esse nec umquam fuisse. Val, mea +Terentia, quam ego vidre videor itaque dbilitor lacrims. Cr, cr +t, mea Terentia. Etiam atque etiam val." + +Quondam litters amantissims scrpsit; nunc epistolia frgscunt. +Quondam vs mihi dedit, nunc vs mihi dmltur; quondam fuit martus, +nunc est rtor. Tam molestum est mtrem familis 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 lacrims? Mihi dc. + +_Terentia._ Rs nllast! Modo putbam quantum mttus ab ill Cicerne +qu m in mtrimnium dxerit, sit Cicer quem hodi vide. Tum +Terentiae aliqua rati habbtur. Nunc vacat Cicer librs modo et +rtinibus et Catilnae. Nescs quantum m hius negt taedeat! Nllum +tempus habs ad cnsultandum mcum d studis nostr fliol. Magister +d e haec hodi rettulit. (Hands Cicero a scroll.) M pudet fl. + +_M. Cic._ (reading to himself the report). Dc me fli, Mrcipor, +ut ad m veniat. (Exit Marcipor, who returns bringing young Marcus.) + +_M. Cic. a._ Quid est, pater? + +_M. Cic._ Tua mter, m fl, animum nxium ob hanc renntitinem d t +habet. M quoque, cnsulem Rmnum, hius renntitinis quibusdam +partibus pudet. (Reads aloud.) "Bis absns." Cr, m fl, schol +fuist? + +_M. Cic. a._ Id nn memori tene. + +_Terentia._ Sunt multa quae memori nn tens, s ego d hc +renntitine idicre possum. + +_M. Cic._ (continues reading). "Tardus decins!" Decins! Id est +incrdibile! Flius cnsulis Rmn tardus decins! Mter tua id nn +pat dbuit. + +_Terentia_ (angrily). Mter tua id nn pat dbuit! Imm vr pater tuus +id nn pat debuit. + +_M. Cic._ "Ars legend _A_." Id quidem satis est. "Ars scrbend _D_." +_D_! Id quidem minim satis est. Ngtor dfuit offici! "Flius tuus +dcit scrptram tempus longius cnsmere. Dbet s in scrbend multum +exercre, s scrbere mod tolerbil discere vult. Arithmtica _A_. +Huic studi operam dat. Dclmti _A_. Omnibus facile hc studi +antecellit." Bene, m fl. Ea pars hius renntitinis mihi mgnopere +placet. rtor clrissimus lim eris. + +_Terentia._ nus rtor apud ns satis est. + +_M. Cic. a._ rtor er lim nihil minus. Facile est rtrem fier. +Dclmti est facillima. Hodi in schol hanc dclmtinem didic: + + Omnia tempus edx dpscitur, omnia carpit, + Omnia sde movet, nl sinit esse di. + Flmina dficiunt, profugum mare ltora siccant, + Subsdunt monts et iuga celsa ruunt. + Quid tam parva loquor? mls pulcherrima cael + Ardbit flamms tta repente sus. + Omnia mors poscit. Lx est, nn poena, perre: + Hc aliqu mundus tempore nllus erit. + +_Terentia._ Tlis dclmti est facilis. Aud quid d gemetri tu +reltum sit. Gemetria magis quam declmti ostendit utrum t mentem +exerces. + +_M. Cic._ (continues reading). "Gemetria _D_." Magister haec scripsit: +"Flius tuus dcit gemetriam rtribus intilem esse. E dligenter +dom labrandum est." ԠMrce, hc est incrdibile! Num dxist t +gemetriam rtribus intilem esse? + +_M. Cic. a._ , studium gemetriae mihi odisum ingrtumque est! Omns +puers istus taedet. Tant nn est! + +_M. Cic._ Etiam s studium t nn ams, gemetriam discere dbs. Tibi +centum sstertis dab s summam notam in gemetri proxim mnse +adeptus eris. + +_M. Cic. a._ (grasping his father's hand). Am t, pater, convenit! +Eam adipscar! + +_Terentia_ (to Anna). Estne toga parta? + +_Anna._ Parta est, domina. + +_Terentia._ Hc ven, Mrce! + +_M. Cic. a._ mter, tempus perdere nl. Ml legere. + +_Terentia._ Quid dcis? Nn vs? Nnne vs novam togam habre? + +_M. Cic. a._ Nl. Nov m nl opus est. Tam fessus sum! (Picks up a +scroll and is about to take a seat in the corner.) + +_M. Cic._ Ad mtrem tuam, Mrce Cicer, sine mor, accde! + + (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). amc, salvte! ut valtis? + +_Terentia_ (greeting L. Piso). D duint vbs quaecumque opttis. +Cicern modo dcbam ns di vs nn vidre, praesertim t, Ps. +Mrcipor, ubi est Tullia? E dc ut hc veniat. + +_L. Piso._ Nl Tulliam vocre. Nunc cum parentibus Tulliae agere vol, +nn cum Tulli ips. + +_Terentia._ Nn vs nostram Tulliam vidre! Quid, scre vol? + +_L. Piso._ Cum e hc tempore agere nn cupi. Id propter quod in +vestram domum hodi vn tu, et Cicernis rfert. Velim vbscum agere +pr me fli, Gi Psne, qu fliam tuam in mtrimnium dcere vult. + +_M. Cic._ Meam fliam in mtrimnium dcere! Mea Tulliola nndum satis +mtra est ut nbat. Mea flia mihi crior vt ips est. Eam mittere +... id nn ferre possum. Ea lx nostra est. Me Tulliol nihil umquam +ambilius, nec long vt ac prope immortlitte dgnius vd. Nndum +anns quattuordecim implvit et iam ius prdentia est mrbilis. Ut +magistrs amat! Quam intellegenter legit! Nn possum verbs exprimere +quant vulnere anim percutiar s meam Tulliolam mittam. Utinam penitus +intellegers mes snss, quanta vs patern sit amris. + +_L. Piso._ Tlia verba, Mrce Tull, vir Rmn nn propria sunt. +Necesse est omns nostrs flis in mtrimnium dmus. Nihil aliud +exspect. + +_Terentia._ Nostra flia omnibus grtissima est. Semper enim lepida et +lberlis est. Iam di sci ns eam nn semper retinre posse. + +_L. Piso._ Rct, rct! Meus flius bonus est; est rtor. Est quoque +satis dves. Rmae dus aeds habet; rre mgnificentissima vlla est +e. Cum ill flia tua flx erit. Id mihi persusum habe. Quae cum ita +sint, Mrce Tull, sine dte tuam fliam me fli posc. + +_M. Cic._ Prohibeant d immortls condicinem ius mod. Cum mea flia +in mtrimnium danda sit, nminem cgnv qu ill dgnior sit quam tuus +flius gregius. + +_L. Piso_ (shaking hands with Cicero). Mrce, m amce, d t +respiciant! Nunc mihi eundum est ut flium et sgntrs arcessam et iam +hc revertar. + + (Exeunt L. Piso and Q. Hortensius.) + +_Terentia._ Dc, Mrcipor, servs ut in culn vnum, frcts, placents +parent. (Exit Marcipor.) Mrce, fl, sorrem voc. + +_M. Cic. a._ Tullia, Tullia, + Soror mea bella, + Amtres tibi sunt + Ps et Dolbella. + + (Enter Tullia at the right.) + + Amatne Ps t, + Etiam Dolbella? + Tullia, Tullia, + Soror mea bella, + Psnem tuum martum fac; + Nn grtus Dolbella. + +_Tullia._ Mrce, tu m taedet. Quid est, mter? + +_Terentia._ Tullia, nnne est Gius Ps tibi grtissimus? + +_Tullia._ , mihi satis placet. Cr m rogs, mter? + +_Terentia._ Rog, mea flia, quod Ps t in mtrimnium dcere vult. +Tibi placetne hc? + +_Tullia._ Mihi placet s-- + +_Terentia._ S--quid, mea flia? + +_Tullia._ mter, nl nbere. Sum flx tcum et patre et Mrc. Vx +tantum quattuordecim anns. Puella ditius esse vol, nn mter +familis. + +_Terentia._ Ps dves est. Pater tuus nn mgns dvitis nunc habet. +Meum argentum quoque cnsmptum est. Etiam haec domus nostra nn ditius +erit. Quid facimus s t nn bene nbs? + +_Tullia._ Sci patrem meum nn mgns possessins habre; quid vr, +mter? Servlia, Lcull spnsa, qu modo rediit spolis Orientis +onustus, semper suam fortnam queritur. Misera Lcullum dit ac +dtesttur. Hestern di mes auribus Servliam haec verba dcere +audv: "M miseram! nflcissimam vtam! Fminam maestam! quid faciam? +Mihi dlctus est martus disus. Nm rogvit qu vir mihi maxim +placeat. Coniugem novum der, id certum est. Prae lacrims nn iam +loqu possum." Ԡmter! ego sum aequ trstis ac Servlia. Nl Gi +Psn nbere. Nll homin, neque Rmn neque peregrn, quem vderim, +nbere vol. + +_Terentia._ Tullia, mea flia, mtris et nostrae doms miserre! Hodi +pater m argentum postulbat quod e dare nn poteram. Ps dtissimus +est et nbs auxili esse potest. Parentum turum caus t r n hunc +gregium adulscentem aspernris. + +_Tullia._ Servliam et Tulliam, ambs misers! Quid dcis t, m +pater? Vs t quoque m in mtrimnium dare? + +_M. Cic._ mea Tulliola, m nl rogre. Nescs quantum ego t amem. +Sine t vvere nn poter. Id mihi persusum habe. Put tamen, s pcem +apud ns habre velmus, t mtris iussa sequ necesse esse. + +_Tullia._ Vol, m pater, t pcem habre. Tua vta tam perturbta fuit. +Nbam, 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 salvte, amc. Tulliae vix +persudre poteram, tamen nn iam invta est. + +_L. Piso._ Bene, bene, hc est mihi dis grtissimus. Parta sunt omnia? + +_Terentia._ Omnia parta sunt, sed iris cnsultus nndum vnit. + +_L. Piso._ Ille quidem ad tempus adesse pollicitus est. + +_Terentia._ Id spr. Tbcins, Mrcipor, hc arcesse. (Enter Q. +Hortensius and his wife, together with the pronuba and the _iuris +consultus_.) Salvte, me amc. Adsdite s placet. + +_Iuris con._ S mihi veniam dabitis, nn di morr velim. nstns +negtium m in for flgitat. Mihi mtrandum est. (Goes to a table with +M. Cicero and busies himself with the _tabulae nuptiales_.) + +_L. Piso._ Mtrmus! G et Tullia, ad m vente! (To Cicero.) +Spondsne Tulliam, tuam fliam, me fli uxrem 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 amrem testtur aceipe. Manum, Tullia, tibi +d, et vim bracchirum et celerittem pedum et glriam merum patrum. +T am, pulchra puella. T nam semper amb. Mihi es t crior omnibus +quae in terr caelque sunt. Flcs semper smus! + +_Iuris con._ Tabulae nptils sunt partae et ecce condicins. +(Reads.) "Hc di, prdi ds Aprls, ann sescentsim nngsim +prm post Rmam conditam, M. Tulli Cicerne Gi Antni cnsulibus, +ego M. Tullius Cicer meam fliam Tulliam Gi Calpurni Lc fli +Psn sponde. Eam cum dte dare sponde. Ea ds erit qundecim mlia +sstertium." (Turning to Gaius.) G Ps, spondsne t Tulliam semper +amtrum cultrumque? + +_Gr. Piso._ Id sponde. + +_Iuris con._ Spondsne t, Tullia, t Gi Psn semper obsecutram +esse? + +_Tullia._ Id sponde. + +_Iuris con._ (stamping the _tabulae_ with a seal). Nuc subscrbite! +T prmus, Cicer, deinde Terentia et Tullia et Gius. + + (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._ Bet vvtis, Ps et Tullia! Omns spns et spnsae saltem +propnmus! (All drink to the health of the betrothed.) + +_M. Cic. a._ Sint d semper volents propitique ipss domu +familiaeque. Sit vbs fortna bengna! + +_M. Cic._ Tibi grtulor, Ps. T pulcherrimam et optimam puellam ttus +Rmae adeptuses. + +_Pronuba._ fortnte adulscns qu tlem puellam invners! + +_Iuris con._ Sgnvruntne omns? T, Qunte Hortns, nndum +subscrpsist. + +_Q. Hor._ Id statim faciam. (Signs.) + +_Pronuba._ Nunc omns cantmus! + + (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 Hymene, Hymen ades O Hymene.] + + +SECUNDA SCAENA + +NPTIAE + + 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. Aslave 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, alittle 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. Mgna grtia ds immortlibus 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 Gius, ego Gia. + + 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 omnipotns dvum pater atque hominum rx, + Hs spnss bene respicis, favesque per anns. + Iuppiter omnipotns, precibus s flecteris lls + Aspice es, hc tantum, et s piette merentur, + D cursum vtae icundum et commoda sparge + Multa man pln; vrs validsque per menss + H habeant, puers pulchrs fortsque nepts. + Rbus icunds quibus adss Iuppiter semper. + +_Flamen Dialis._ + + In quae incdis dvum rgna Iovisque + Coniunx et soror, hs spnss serv atque ture. + Sint et flcs, forts, piette suprm; + Mgn cum virtte incdant omnibus anns, + Semper fortnt, semper et usque bet. + + (The pronuba now uncovers the heads of the wedded pair and they + receive congratulations.) + +_L. Piso._ Bet vvtis, G et Tullia! + +_Terentia._ Vbs sint d semper faust! + +_M. Cic. a._ Vbs ambbus grtulor. Sed nlla rs levis est +mtrimnium. Quid, Tullia? + +_Tullia._ Rct dcis, frter, mtrimnium nn in lev habendum est. + +_M. Cic._ Sint omns dis flcs aequ ac hc dis. + +_Pronuba._ Spr, me amc, omns dis vbs laetissims futrs 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 + +DDUCTI + + 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._ mter, mter, nl t et patre me discdere. , m +miseram! + +_Terentia._ , flia, ! Saepe tus parents et frtrem vsere poteris. +Necesse est nunc cum mart es. + +_G. Piso._ Mihi, Tullia, crior vt es. T nn pigbit coniugem meam +fier. Id polliceor. Mcum ven, Tullia crissima! + +_Tullia._ Sc est. Prius mustceum edendum est. (She cuts the wedding +cake and all partake.) + +_L. Pisonis uxor._ Hc mustceum optimum est. Hc fcistne t, Tullia? + +_Tullia._ Nihil temporis habbam qu mustceum facerem. Multa mihi n +tempore agenda erant. + +_Terentia._ Tullia mustceum facere potest s spatium datur. + +_M. Cic. a._ (taking another piece of cake). Tullia est dliciae +puellae. S num modo mustceum habmus, ad novam domum Tulliae +proficscmur. + +(Others cry out) Emus! + + The curtain falls. A frame to represent the door of a Roman house is + placed to the left of the stage; asmall altar stands at the right: + acircular 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; aboy + follows, carrying the bride's spindle; the others follow, two by + two, all carrying torches and singing: + + Hespere, qu cael fertur crdlior gnis? + Qu ntam posss complex vellere mtris, + Complex mtris retinentem vellere ntam + Et iuven rdent castam dnre puellam. + Quid faciunt hosts capt crdlius urbe? + Hmn Hymenaee, Hmn 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 Gius, ego Gia. + +_G. Piso_ (presenting to her the keys, which she fastens in her girdle). +Sit flx nostra vta! Clvs meae doms, 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 flicissimam! proxima Tulliae nbam. + + (Tullia kneels at the altar and offers prayer to Juno.) + + In, es auctor mnerum, + In, mter omnium, + Nbs d nunc gaudium. + In, aditrx es hominum, + In, summa caelitum, + Nbis ss 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, Iam 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, areminiscence 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 +"Drmatis Persn" or "-ae". Note that the name is consistently "Csar" +in English, "Caesar" in Latin. + + ... the writer's aim will be / accomplished + [_lack of closing punctuation may be intentional_] + + _Gn. Pom._ Ianns, Ianns, tbcine ntus [Ianns, Ioanns] + Portae nn gehennae [non] + When nox gives way to lx of morning [lux] + + Lege, Philotme, omnia fragmenta. [frgmenta] + T nn pigbit 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 31894-8.txt or 31894-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/1/8/9/31894/ + +Produced by Louise Hope, David Starner, Chuck Greif and +the Online Distributed Proofreading Team at +https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/31894-8.zip b/31894-8.zip Binary files differnew file mode 100644 index 0000000..01499bc --- /dev/null +++ b/31894-8.zip diff --git a/31894-h.zip b/31894-h.zip Binary files differnew file mode 100644 index 0000000..f1505f5 --- /dev/null +++ b/31894-h.zip diff --git a/31894-h/31894-h.htm b/31894-h/31894-h.htm new file mode 100644 index 0000000..88e8e52 --- /dev/null +++ b/31894-h/31894-h.htm @@ -0,0 +1,2545 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<title>Two Latin Plays</title> +<meta http-equiv = "Content-Type" content = "text/html; charset=UTF-8"> + +<style type = "text/css"> + +body {margin-left: 10%; margin-right: 10%;} + +div.page {margin-top: 4em; margin-bottom: 4em;} + +hr {width: 80%; margin-top: 1em; margin-bottom: 1em; +text-align: center;} +hr.close {margin-top: .5em; margin-bottom: .5em; width: 40%;} +hr.mid {width: 40%;} +hr.small {width: 30%;} + + +div.maintext a {text-decoration: none;} +a.tag {text-decoration: none; vertical-align: .3em; font-size: 80%; +padding-left: .25em; line-height: .1em;} + +h1, h2, h3, h4, h5, h6 {text-align: center; font-style: normal; +font-weight: normal; line-height: 1.5; margin-top: .5em; +margin-bottom: .5em;} + +h1 {font-size: 200%;} +h2 {font-size: 175%;} +h3 {font-size: 150%;} +div.maintext h3 {margin-top: 3em;} +h4 {font-size: 120%;} +div.maintext h4 {margin-top: 2em;} +h5 {font-size: 100%;} +div.maintext h5 {margin-top: 1.5em;} +h4 span.subhead, h5 span.subhead {font-size: 80%; line-height: 2;} +h6 {font-size: 85%;} + +p {margin-top: .5em; margin-bottom: 0em; line-height: 1.2;} + +p.illustration {text-align: center; margin-top: 1em; +margin-bottom: 1em;} + +p.center {text-align: center;} +p.right {text-align: right;} + +p.inset {margin-left: 2em;} + +/* footnotes */ +div.footnote {margin: 1em 2em; font-size: 95%;} + + +/* drama */ + +p.scenedesc {font-size: 92%; margin: .5em 1em;} + +span.speaker {font-style: italic; padding-right: .5em;} +p.speaker {font-style: italic; float: left; clear: left;} + +.stagedir {font-size: 88%; line-height: 1.36;} +p.stagedir {text-align: center; margin-top: .6em; +margin-left: 1em; margin-right: 2em;} +p.stagedir.long {text-align: left;} +span.stagedir {padding-left: .25em; padding-right: .25em;} +span.speaker + span.stagedir {padding-left: 0;} + +div.verse {margin: .5em 2em;} +div.verse p {font-size: 88%; line-height: 1.36; margin-top: 0; +margin-left: 4em; text-indent: -4em;} +div.verse p.indent {text-indent: -3em;} + +p.verse {font-size: 88%; margin-top: .6em; line-height: 1.36;} +p.verse.one {margin-left: 3em;} +p.verse.two {margin-left: 5.5em;} +p.verse.one + p.verse.two, p.verse.two + p.verse.one {margin-top: 0;} +p.indent {text-indent: 1em;} + +/* tables */ + +table {margin-left: auto; margin-right: auto; margin-top: 1em; +margin-bottom: 1em; font-size: inherit; font-family: inherit;} + +td {vertical-align: top; text-align: left; padding: .1em;} + +td.right {text-align: right;} +td.number {text-align: right;} +td.inset {padding-left: 1em;} + +td.bracket {vertical-align: middle; background-repeat: no-repeat; +background-position: center left; padding-left: 1em; +background-image: url("images/bracket3.gif");} +td.dots {background-repeat: repeat-x; background-position: 0 67%; +background-image: url("images/dots.gif");} + +td.smallroman {text-transform: lowercase; font-variant: small-caps;} + +table.toc {width: 80%;} +table.toc td {padding: .25em 0;} + +table.personae td {padding-top: 0; padding-bottom: 0; line-height: 1.2;} + + +/* text formatting */ + +span.smallcaps {font-variant: small-caps;} +span.smaller {font-size: 88%;} + +span.opaque {color: inherit; background-color: #FFF;} + + + +/* correction popup */ + +ins.correction {text-decoration: none; border-bottom: thin dotted red;} + +/* page number */ + +span.pagenum {position: absolute; right: 2%; font-size: 90%; +font-weight: normal; font-style: normal; text-align: right; +text-indent: 0em;} + +/* Transcriber's Note */ + +.mynote {background-color: #DDE; color: #000; +font-family: sans-serif; font-size: 90%;} + +div.mynote {margin: 1em 5%; padding: .5em 1em 1em;} +p.mynote {margin: 1em 5%; padding: 1em;} +div.mynote a {text-decoration: none;} + +</style> +</head> + +<body> + + +<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 (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—in +particular, if the diacritic does not appear directly above the +letter—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> <br> </p> + +<h6>BY</h6> + +<h4>SUSAN PAXSON</h4> + +<h6>INSTRUCTOR IN LATIN IN THE OMAHA HIGH SCHOOL</h6> + +<p> <br> </p> + +<p> <br> </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> <br> </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"> </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">    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">    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 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 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 <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 Roman School” and “A 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"> </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> <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 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 . . .</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— 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—stretch; heels—raise, knee +bend; forehead—firm; right knee upward—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— +<span class = "stagedir">(A 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"> + Omne bene,<br> + Sine poenā<br> +Tempus est lūdendī;<br> + Vēnit hōra<br> + 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. 128.</p> + +<p><a class = "tag" name = "note2" id = "note2" href = "#tag2">2</a> +See Johnston, “Private Life of the Romans,” p. 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. 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 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 & Co., +1903.</p> +</div> + +<a name = "wedding" id = "wedding"> </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"> </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 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 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 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 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 rem pūblicam fortūnātam, ō 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 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 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 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 . . . 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—</p> + +<p><span class = "speaker">Terentia.</span> +Sī—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 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.&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 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 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 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 small altar stands at +<span class = "pagenum">35</span> +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:</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 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> </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. 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—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—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 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—PROCESSION TO THE GROOM’S +HOUSE</span></h5> + +<p>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 <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 + +*** END OF THIS PROJECT GUTENBERG EBOOK TWO LATIN PLAYS *** + +***** This file should be named 31894-h.htm or 31894-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/1/8/9/31894/ + +Produced by Louise Hope, David Starner, Chuck Greif and +the Online Distributed Proofreading Team at +https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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