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+Project Gutenberg's Two Latin Plays for High-School Students, by Susan Paxson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Two Latin Plays for High-School Students
+
+Author: Susan Paxson
+
+Release Date: April 5, 2010 [EBook #31894]
+
+Language: Latin
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TWO LATIN PLAYS ***
+
+
+
+
+Produced by Louise Hope, David Starner, Chuck Greif and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net
+
+
+
+
+
+[This text is intended for users whose text readers cannot use the
+"real" (Unicode/UTF-8) version of the file. All macrons ("long" marks)
+have been changed to circumflex accents; y with macron (rare) is shown
+as ż. 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 Athenęum 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 Cęsar 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
+Cęsar 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 } _iūdicźs_
+ Pūblius Licinius Crassus }
+ Gāius Licinius Crassus, _adulźscźns_
+
+ _Discipulī_
+
+ Mārcus Tullius Cicerō
+ Quīntus Tullius Cicerō
+ Lūcius Sergius Catilīna
+ Mārcus Antōnius
+ Gāius Iūlius Caesar
+ Appius Claudius Caecus
+ Gnaeus Pompźius
+ Pūblius Clōdius Pulcher
+ Mārcus Iūnius Brūtus
+ Quīntus Hortźnsius 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 rźctź 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 Pompźius.
+ Pūblius Clōdius Pulcher.
+ Mārcus Iūnius Brūtus.
+ Quīntus Hortźnsius Hortalus.
+ Mārcus Claudius Mārcellus.
+
+Nunc, puerī, percipite, quaesō, dīligenter, quae dīcam, et ea penitus
+animīs vestrīs mentibusque mandāte. Sine morā respondźte. (Writes on the
+board the sentence "Omnīs rźs dī regunt.") Nōmen _dī_, Mārce Cicerō,
+dźscrībe.
+
+_M. Cic._ Dī est nōmen, est dźclīnātiōnis secundae, generis masculīnī,
+numerī plūrālis, cāsūs nōminātīvī, ex rźgulā 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 dīligźns 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
+abūtźre, 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. Accźdite, 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_ dźscrībe.
+
+ [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 dīligźns frātre tuō Mārcō. Nescīs
+quantum mź hūius negōtī taedeat. Sī pźnsum crās nōn cōnfźceris, est mihi
+in animō ad tuum patrem scrībere. Haec nīl iocor. Tuam nźquitiam nōn
+diūtius feram, nōn patiar, nōn sinam.
+
+_Q. Cic._ Ō dī immortālźs, tālem āvertite cāsum et servāte piōs puerōs,
+quamquam pigrī sunt.
+
+_Mag._ Quīnte Hortźnsī, verbum _regunt_ dźscrībe.
+
+_Q. Hor._ _Regunt_ est verbum; praesźns est _regō_; īnfīnītīvus,
+_regere_; perfectum, _rźxī_; supīnum, _rźctum_. Est coniugātiōnis
+tertiae, generis actīvī, modī indicātīvī.
+
+_Mag._ Rźctź, rźctź, Quīnte! Bonus puer es. Gnaeī Pompźī, 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 sequźns, ex
+rźgulā secundā, quae dīcit: Verbum persōnam numerumque nōminis sequitur.
+
+_Mag._ Rźctź! Nōnne tibi dīxī tź rem expōnere posse? Nihil agis, Gnaeī
+Pompźī, nihil mōlīris, nihil cōgitās, quod nōn ego nōn modo audiam, sed
+etiam videam plānźque sentiam. Gāī Mārcelle, tempus futūrum flecte.
+
+_G. Mar._ _Regam_, _regźs_, _reget_, _regźmus_, _regźtis_, _regent_.
+
+_Mag._ Quae pars ōrātiōnis est _omnīs_, Gāī?
+
+_G. Mar._ _Omnīs_ est adiectīvum.
+
+_Mag._ Rźctź; estne _omnīs_ dźclīnābile an indźclīnābile, Pūblī Pulcher?
+
+_P. Pul._ _Omnīs_ est dźclīnābile, _omnis_, _omne_.
+
+_Mag._ In quō cāsū est _omnīs_, Mārce Brūte?
+
+_M. Bru._ _Omnīs_ est cāsūs accūsātīvī ex rźgulā quae dīcit: Nōmen
+adiectīvum cāsum et genus nōminis substantīvī sequitur.
+
+_Mag._ Cūius dźclīnātiōnis est _omnīs_, Mārce Mārcelle?
+
+_M. Mar._ _Omnīs_ est dźclīnātiōnis tertiae.
+
+_Mag._ Potesne omnīs dźclīnāre?
+
+_M. Mar._ Oppidō, magister, auscultā. (Declines _omnis_.)
+
+_Mag._ Mārcus Claudius, suō mōre, optimź fźcit. Quam cōnstrūctiōnem
+habet _rźs_, Mārce Brūte?
+
+_M. Bru._ _Rźs_ est nōmen cāsūs accūsātīvī, quod obiectum verbī _regunt_
+est. (Enter Appius Caecus late. His _paedagogus_ accompanies him.)
+
+_Paed._ Magister, Appius Claudius hodiź māne aeger est, idcircō tardź
+venit. (Exit.)
+
+_Mag._ Poenās dā, "Micā, Micā," recitā.
+
+_App. Caec._ Micā, micā, parva stella,
+ Mīror quaenam sīs, tam bella!
+ Splendźns źminus in illō
+ Alba velut gemma caelō.
+
+ Quandō fervźns 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._ Trźs philosophī dź Tusculō
+ Mare nāvigārunt vāsculō;
+ Sī vās fuisset tūtius
+ Tibi canerem diūtius.
+
+_Others_ (shouting). Mihi recitāre liceat.
+
+_Mag._ Recitā, Gnaeī Pompźī.
+
+_Gn. Pom._ Iōannźs, Ioannźs, tībīcine nātus,
+ Fūgit perniciter porcum fūrātus.
+ Sed porcus vorātus, Iōannźs dźlātus,
+ 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 frźgit frontem,
+ Trāxit sźcum Gāiam īnsontem.[3]
+
+ [Footnote 3: Here, as well as elsewhere, remember that _Gāius_ and
+ _Gāia_ are each three syllables.]
+
+_Mag._ Hōc satis est hodiź. Nunc, puerī, cor-- Quid tibi vīs, Quīnte
+Hortźnsī? Facis ut tōtō corpore contremīscam.
+
+_Q. Hor._ (who has been shaking his hand persistently). Magister,
+ego novōs versūs prōnūntiāre possum. Soror mea eōs mź docuit.
+
+_Mag._ Recitā celeriter.
+
+_Q. Hor._ Iacōbulus Horner
+ Sedźbat in corner
+ Edźns Sāturnālicium pie;
+ Īnseruit thumb,
+ Extrāxit plum,
+ Clāmāns, Quam ācer puer sum I.
+
+_Mag._ Nunc, puerī, corpora exercźte. 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. Pźnsum crāstinum est pźnsum decimum. Cavźte nź hōc
+oblīvīscāminī. Pźnsum crāstinum est pźnsum 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 dź Galliā
+potes tū dīcere, Mārce Mārcelle?
+
+_M. Mar._ Gallia est omnis dīvīsa in partźs trźs, 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 longissimź absunt, minimźque ad eōs mercātōrźs Rōmānī saepe
+commeant atque ea quae ad effźminandōs animōs pertinent, important.
+
+_Mag._ Quis fīnźs Galliae dźsīgnāre potest?
+
+_All_ (raising hands). Ego, ego possum.
+
+_Mag._ Lūcī Lūculle, Galliae fīnźs dźsīgnā.
+
+_L. Luc._ Gallia initium capit ā flūmine Rhodanō; continźtur Garumnā
+flūmine, Ōceanō, fīnibus Belgārum; attingit flūmen Rhźnum ab Sźquanīs et
+Helvźtiīs; vergit ad septentriōnźs.
+
+_Mag._ Quōs deōs colunt Gallī, Gnaeī Pompźī?
+
+_Gn. Pom._ Deōrum maximź 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 maximź?
+
+_L. Cat._ Nōs Iovem dīvum patrem atque hominum rźgem maximź colimus.
+
+_Mag._ Nunc, puerī, cantāte. Quod carmen hodiź cantźmus? (Many hands are
+raised.) Gāī Caesar, quod carmen tū cantāre vīs?
+
+_G. Caes._ Volō "Mīlitźs Chrīstiānī" cantāre.
+
+_Mag._ Hōc pulcherrimum carmen cantźmus. (A knock is heard. Enter
+Publius Licinius Crassus and Aulus Licinius Archias with slaves carrying
+scrolls.) Salvźte, amīcī. Vōs advźnisse gaudeō. Nōnne adsīdźtis ut
+puerōs cantāre audiātis?
+
+_A. Archias._ Iam rźctź, carmen sānź audiāmus.
+
+_Mag._ Optimź, puerī, cantźmus. 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.]
+
+ Mīlitźs Chrīstiānī,
+ Bellō pergite;
+ Cāram Iźsū crucem
+ Vōs prōvehite.
+ Chrīstus rźx, magister,
+ Dūcit āgmina,
+ Eius iam vźxillum
+ It in proelia.
+
+ Māgnum āgmen movet
+ Deī ecclźsia.
+ Gradimur sānctōrum,
+ Frātrźs, sźmitā.
+ Nōn dīvīsī sumus,
+ Ūnus omnźs nōs;
+ Ūnus spź, doctrīnā,
+ Cāritāte nōs.
+
+ Thronī atque rźgna
+ Īnstābilia,
+ Sed per Iźsum cōnstāns
+ Stat ecclźsia.
+ Portae nōn gehennae
+ Illam vincere,
+ Nec prōmissus Iźsū
+ Potest fallere.
+
+ Popule, beātīs
+ Vōs coniungite!
+ Carmina triumphī
+ Ūnā canite;
+ Chrīstō rźgī honor,
+ Laudźs, glōria,
+ Angelī hōc canent
+ Saecla omnia.
+
+_Mag._ Iam, puerī, silentiō factō, Gāius Iūlius Caesar nōbīs suam
+ōrātiōnem habźbit quam dź ambitiōne suā composuit. Hāc ōrātiōne fīnītā,
+Mārcus Tullius Cicerō suam habźbit. Ut prōnūntiātum est complūribus
+diźbus ante, hī duo puerī dź praemiō inter sź contendunt. Hōc diź
+fźlīcissimō duo clārissimī et honestissimī virī arbitrī sunt, Aulus
+Licinius Archiās et Pūblius Licinius Crassus. In rōstra, Gāī Iūlī
+Caesar, źscende!
+
+_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 cźterīs quī inimīcō animō in populum Rōmānum sunt. In prīmīs,
+in īnsulam Britanniam pervenīre cupiō, quae omnis ferź Rōmānīs est
+incōgnita, et cōgnoscere quanta sit māgnitūdō īnsulae.
+
+Volō pontem in Rhźnō aedificāre et māgnum exercitum trādūcere ut metum
+illīs Germānīs quibus nostra parvula corpora contemptuī sunt iniciam.
+Ubi Rhźnum ego trānsierō, nōn diūtius glōriābuntur illī Germānī
+māgnitūdine suōrum corporum.
+
+Vōs sententiam rogō, iūdicźs amplissimī, nōnne est haec ambitiō honesta?
+
+Deinde rźs gestās meās perscrībam. Negōtium hūius historiae legendae
+puerīs dabō mentium exercendārum causā, nam mihi crźdite, commentāriī dź
+bellō Gallicō ūtilźs erunt ad ingenia acuenda puerōrum. (_Discipuli_
+applaud.)
+
+_Mag._ Nunc Mārcus nōbīs dź suā cārissimā ambitiōne loquźtur. In rōstra
+źscende, Mārce!
+
+_M. Cic._ Quoad longissimź potest mźns mea respicere et ultimam memoriam
+recordārī, haec mea ambitiō fuit, ut mź 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 mź sit, numquam amīcōrum perīculīs
+dźsit. Nōnne est haec ambitiō maximum incitāmentum labōrum?
+
+Deinde, haec est mea ambitiō, ut cōnsul sim. Dź meō amōre glōriae vōbīs
+cōnfitźbor. Volō poźtās reperīre quī ad glōriam meī cōnsulātūs
+celebrandam omne ingenium cōnferant. Nihil mź mūtum poterit dźlectāre,
+nihil tacitum. Quid enim, nōnne dźsīderant omnźs glōriam et fāmam? Quam
+multōs scrīptōrźs rźrum suāram māgnus ille Alexander sźcum habuisse
+dīcitur! Itaque, ea verba quae prō meā cōnsuźtūdine breviter
+simpliciterque dīxī, arbitrī, cōnfīdō probāta esse omnibus. (_Discipuli_
+applaud.)
+
+_Mag._ Ut vidźtis, arbitrī clārissimī, puerī ānxiīs animīs vestrum
+dźcrźtum exspectant. Quae cum ita sint, petō ā vōbīs, ut testimōnium
+laudis dźtis.
+
+_A. Archias._ Ambōs puerōs, magister, maximź laudamus, sed ūnus sōlus
+praemium habźre potest. Nōs nōn dźcernere possumus. Itaque dźcrźvimus ut
+hī puerī ambō inter sź sortiantur uter praemium obtineat. Servī, urnam
+prōferte! Nōmina in urnam iaciam. Quī habet nōmen quod prīmum źdūcam, is
+vīctor erit. (Takes from the urn a small chip and reads the name _Marcus
+Tullius Cicero_.) Tź, Mārce Cicerō, victōrem esse prōnūntiō. Sīc fāta
+dźcrźvźrunt. Servī, corōnam ferte! (Places a wreath of leaves on the
+head of Marcus. The _discipuli_ again applaud.)
+
+_M. Cic._ (going up to Cęsar). 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 cźterī
+vōs imitentur. Aliud certāmen hūius modī mox habźbimus. Loquźmur dź--
+(A knock is heard. Enter Gaius Licinius Crassus.)
+
+_G. Cras._ Mī pater!
+
+_P. Cras._ Mī fīlī! (They embrace.)
+
+_G. Cras._ Māter mea mihi dīxit tź arbitrum in hōc certāmine hodiź esse.
+Tź diūtius exspectāre nōn potuī. Iam diū tź vidźre cupiō et ego quoque
+cupiō hōc certāmen audīre. Estne cōnfectum?
+
+_P. Cras._ Cōnfectum est. Utinam hī puerī tź recitāre audiant! Tū eōs
+docźre 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.
+Źius 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 vźnit hellum.
+ Quickly ran uterque puer
+ Mors of possum to secure.
+ Cum venźrunt, 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, certź, they will blossom
+ Into heroes, when with possum
+ They arrive, narrābunt story,
+ Plźnus blood et plźnior 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,
+ Plźnus 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 resurrźctum!
+ Ecce puerum dźiectum!
+ Nōn relinquit track behind him,
+ Et the puerī never find him;
+ Cruel possum, bźstia vilest,
+ How tū puerōs beguilest;
+ Puerī think nōn plūs of Cęsar,
+ Go ad Orcum, Shalmaneser,
+ Take your laurels, cum the honor,
+ Since istud possum is a goner![5]
+
+ [Footnote 5: Anonymous.]
+
+ (_Discipuli_ applaud.)
+
+_Mag._ Omnźs quī Gāiō Crassō grātiās agere velint, surgite! (All stand.)
+Nunc, puerī, domum redīte.
+
+_Discipuli_ (departing).
+
+ Omne bene,
+ Sine poenā
+ Tempus est lūdendī;
+ Vźnit hōra
+ Absque morā
+ Librōs dźpōnendī.
+
+Valź, magister. Valź, 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: Dźductiō
+
+
+ DRĀMATIS PERSŌNĘ
+
+ 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, adulźscźns
+ Flāmen Diālis
+ Pontifex Maximus
+ Iūris cōnsultus
+ Quīntus Hortźnsius
+ Prōnuba
+ Sīgnātōrźs
+ Tībīcinźs
+ Līctōrźs
+
+ 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 rź, Quirītźs, dubitātis? Ō dī
+immortālźs! Ubinam gentium sumus? In quā urbe vīvimus? Quam rem pūblicam
+habźmus? Vīvis, et vīvis nōn ad dźpōnendam 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 źgredere; patent
+portae, proficīscere. Māgnō mź metū līberābis dum modo inter mź atque tź
+mūrus intersit. Quid est enim, Catilīna, quod tź iam in hāc urbe
+dźlectāre possit? Quamquam quid loquor? Tź ut ūlla rźs frangat?
+(A crash, similar to that of falling china, is heard.)
+
+_Terentia._ Quid est? Vidź, 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 ź Graeciā attulit, manūs gestū dźmōlītus 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 mź ūnō
+togātō factum est. Mārce Tullī, quid agis? Interfectum esse Lūcium
+Catilīnam iam prīdem oportźbat. Quid enim malī aut sceleris fingī aut
+cōgitārī potest quod ille nōn concźperit? Ō rem pūblicam fortūnātam,
+ō praeclāram laudem meī cōnsulātūs, sī ex vītā ille exierit! Vix feram
+sermōnźs hominum, sī id fźcerit. (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 tź, ō mea Terentia
+cārissima, sum miserrimus. Utinam domī tźcum semper manźrem. Quod cum
+nōn possit, ad mź cotīdiź litterās scrībe. Cūrā ut valeās et ita tibi
+persuādź, mihi tź cārius nihil esse nec umquam fuisse. Valź, mea
+Terentia, quam ego vidźre videor itaque dźbilitor lacrimīs. Cūrā, cūrā
+tź, mea Terentia. Etiam atque etiam valź."
+
+Quondam litterās amantissimās scrīpsit; nunc epistolia frīgźscunt.
+Quondam vās mihi dedit, nunc vās mihi dźmōlītur; 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._ Rźs nūllast! Modo putābam quantum mūtātus ab illō Cicerōne
+quī mź in mātrimōnium dūxerit, sit Cicerō quem hodiź videō. Tum
+Terentiae aliqua ratiō habźbātur. Nunc vacat Cicerō librīs modo et
+ōrātiōnibus et Catilīnae. Nescīs quantum mź hūius negōtī taedeat! Nūllum
+tempus habźs ad cōnsultandum mźcum dź studiīs nostrī fīliolī. Magister
+dź eō haec hodiź rettulit. (Hands Cicero a scroll.) Mź pudet fīlī.
+
+_M. Cic._ (reading to himself the report). Dīc meō fīliō, Mārcipor,
+ut ad mź 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 dź tź
+habet. Mź quoque, cōnsulem Rōmānum, hūius renūntiātiōnis quibusdam
+partibus pudet. (Reads aloud.) "Bis absźns." Cūr, mī fīlī, ā scholā
+āfuistī?
+
+_M. Cic. a._ Id nōn memoriā teneō.
+
+_Terentia._ Sunt multa quae memoriā nōn tenźs, sī ego dź hāc
+renūntiātiōne iūdicāre possum.
+
+_M. Cic._ (continues reading). "Tardus deciźns!" Deciźns! Id est
+incrźdibile! Fīlius cōnsulis Rōmānī tardus deciźns! Māter tua id nōn
+patī dźbuit.
+
+_Terentia_ (angrily). Māter tua id nōn patī dźbuit! Immō vźrō pater tuus
+id nōn patī debuit.
+
+_M. Cic._ "Ars legendī _A_." Id quidem satis est. "Ars scrībendī _D_."
+_D_! Id quidem minimź satis est. Nūgātor dźfuit officiō! "Fīlius tuus
+dīcit scrīptūram tempus longius cōnsūmere. Dźbet sź in scrībendō multum
+exercźre, sī scrībere modō tolerābilī discere vult. Arithmźtica _A_.
+Huic studiō operam dat. Dźclāmātiō _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.
+Dźclāmātiō est facillima. Hodiź in scholā hanc dźclāmātiōnem didicī:
+
+ Omnia tempus edāx dźpāscitur, omnia carpit,
+ Omnia sźde movet, nīl sinit esse diū.
+ Flūmina dźficiunt, profugum mare lītora siccant,
+ Subsīdunt montźs et iuga celsa ruunt.
+ Quid tam parva loquor? mōlźs pulcherrima caelī
+ Ardźbit flammīs tōta repente suīs.
+ Omnia mors poscit. Lźx est, nōn poena, perīre:
+ Hīc aliquō mundus tempore nūllus erit.
+
+_Terentia._ Tālis dźclāmātiō est facilis. Audī quid dź 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 incrźdibile! Num dīxistī tū
+geōmetriam ōrātōribus inūtilem esse?
+
+_M. Cic. a._ Ō, studium geōmetriae mihi odiōsum ingrātumque est! Omnźs
+puerōs istīus taedet. Tantī nōn est!
+
+_M. Cic._ Etiam sī studium tū nōn amās, geōmetriam discere dźbźs. Tibi
+centum sźstertiōs dabō sī summam notam in geōmetriā proximō mźnse
+adeptus eris.
+
+_M. Cic. a._ (grasping his father's hand). Amō tź, 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 habźre?
+
+_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, accźde!
+
+ (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, salvźte! ut valźtis?
+
+_Terentia_ (greeting L. Piso). Dī duint vōbīs quaecumque optźtis.
+Cicerōnī modo dīcźbam nōs diū vōs nōn vidźre, praesertim tź, 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 vidźre! Quid, scīre volō?
+
+_L. Piso._ Cum eā hōc tempore agere nōn cupiō. Id propter quod in
+vestram domum hodiź vźnī tuā, et Cicerōnis rźfert. 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 implźvit et iam źius prūdentia est mīrābilis. Ut
+magistrōs amat! Quam intellegenter legit! Nōn possum verbīs exprimere
+quantō vulnere animō percutiar sī meam Tulliolam āmittam. Utinam penitus
+intellegerźs meōs sźnsūs, quanta vīs paternī sit amōris.
+
+_L. Piso._ Tālia verba, Mārce Tullī, virī Rōmānī nōn propria sunt.
+Necesse est omnźs nostrās fīliās in mātrimōnium dźmus. Nihil aliud
+exspectā.
+
+_Terentia._ Nostra fīlia omnibus grātissima est. Semper enim lepida et
+līberālis est. Iam diū sciō nōs eam nōn semper retinźre posse.
+
+_L. Piso._ Rźctź, rźctź! Meus fīlius bonus est; est ōrātor. Est quoque
+satis dīves. Rōmae duās aedźs habet; rūre māgnificentissima vīlla est
+eī. Cum illō fīlia tua fźlīx erit. Id mihi persuāsum habeō. Quae cum ita
+sint, Mārce Tullī, sine dōte tuam fīliam meō fīliō poscō.
+
+_M. Cic._ Prohibeant dī immortālźs condiciōnem źius modī. Cum mea fīlia
+in mātrimōnium danda sit, nźminem cōgnōvī quī illā dīgnior sit quam tuus
+fīlius źgregius.
+
+_L. Piso_ (shaking hands with Cicero). Ō Mārce, mī amīce, dī tź
+respiciant! Nunc mihi eundum est ut fīlium et sīgnātōrźs 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 tź,
+ Etiam Dolābella?
+ Tullia, ō Tullia,
+ Soror mea bella,
+ Pīsōnem tuum marītum fac;
+ Nōn grātus Dolābella.
+
+_Tullia._ Ō Mārce, tuī mź taedet. Quid est, māter?
+
+_Terentia._ Tullia, nōnne est Gāius Pīsō tibi grātissimus?
+
+_Tullia._ Ō, mihi satis placet. Cūr mź rogās, māter?
+
+_Terentia._ Rogō, mea fīlia, quod Pīsō tź in mātrimōnium dūcere vult.
+Tibi placetne hōc?
+
+_Tullia._ Mihi placet sī--
+
+_Terentia._ Sī--quid, mea fīlia?
+
+_Tullia._ Ō māter, nōlō nūbere. Sum fźlīx tźcum 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 nūbźs?
+
+_Tullia._ Sciō patrem meum nōn māgnās possessiōnźs habźre; quid vźrō,
+māter? Servīlia, Lūcullī spōnsa, quī modo rediit spoliīs Orientis
+onustus, semper suam fortūnam queritur. Misera Lūcullum ōdit ac
+dźtestātur. Hesternō diź meīs auribus Servīliam haec verba dīcere
+audīvī: "Mź miseram! Īnfźlīcissimam vītam! Fźminam maestam! quid faciam?
+Mihi dźlźctus est marītus ōdiōsus. Nźmō rogāvit quī vir mihi maximź
+placeat. Coniugem novum ōderō, id certum est. Prae lacrimīs nōn iam
+loquī possum." Ō māter! ego sum aequź 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 miserźre! Hodiź
+pater ā mź argentum postulābat quod eī dare nōn poteram. Pīsō dītissimus
+est et nōbīs auxiliō esse potest. Parentum tuōrum causā tź ōrō nź hunc
+źgregium adulźscentem aspernźris.
+
+_Tullia._ Ō Servīliam et Tulliam, ambās miserās! Quid dīcis tū, mī
+pater? Vīs tū quoque mź in mātrimōnium dare?
+
+_M. Cic._ Ō mea Tulliola, mź nōlī rogāre. Nescīs quantum ego tź amem.
+Sine tź vīvere nōn poterō. Id mihi persuāsum habeō. Putō tamen, sī pācem
+apud nōs habźre velīmus, tź mātris iussa sequī necesse esse.
+
+_Tullia._ Volō, mī pater, tź pācem habźre. Tua vīta tam perturbāta fuit.
+Nūbam, sed ō mź 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 salvźte, ō amīcī. Tulliae vix
+persuādźre poteram, tamen nōn iam invīta est.
+
+_L. Piso._ Bene, bene, hīc est mihi diźs grātissimus. Parāta sunt omnia?
+
+_Terentia._ Omnia parāta sunt, sed iūris cōnsultus nōndum vźnit.
+
+_L. Piso._ Ille quidem ad tempus adesse pollicitus est.
+
+_Terentia._ Id spźrō. Tībīcinźs, Mārcipor, hūc arcesse. (Enter Q.
+Hortensius and his wife, together with the pronuba and the _iuris
+consultus_.) Salvźte, meī amīcī. Adsīdite sī placet.
+
+_Iuris con._ Sī mihi veniam dabitis, nōn diū morārī velim. Īnstāns
+negōtium mź in forō flāgitat. Mihi mātūrandum est. (Goes to a table with
+M. Cicero and busies himself with the _tabulae nuptiales_.)
+
+_L. Piso._ Mātūrźmus! Gāī et Tullia, ad mź venīte! (To Cicero.)
+Spondźsne 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 testźtur aceipe. Manum, Tullia, tibi
+dō, et vim bracchiōrum et celeritātem pedum et glōriam meōrum patrum.
+Tź amō, pulchra puella. Tź ūnam semper amābō. Mihi es tū cārior omnibus
+quae in terrā caelōque sunt. Fźlīcźs semper sīmus!
+
+_Iuris con._ Tabulae nūptiālźs sunt parātae et ecce condiciōnźs.
+(Reads.) "Hōc diź, prīdiź Īdūs Aprīlźs, annō sescentźsimō nōnāgźsimō
+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
+sźstertium." (Turning to Gaius.) Gāī Pīsō, spondźsne tź Tulliam semper
+amātūrum cultūrumque?
+
+_Gr. Piso._ Id spondeō.
+
+_Iuris con._ Spondźsne tū, Tullia, tź 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! Omnźs spōnsō et spōnsae salūtem
+propīnźmus! (All drink to the health of the betrothed.)
+
+_M. Cic. a._ Sint dī semper volentźs 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 adulźscźns quī tālem puellam invźnerīs!
+
+_Iuris con._ Sīgnāvźruntne omnźs? Tū, Quīnte Hortźnsī, nōndum
+subscrīpsistī.
+
+_Q. Hor._ Id statim faciam. (Signs.)
+
+_Pronuba._ Nunc omnźs cantźmus!
+
+ (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 Hymenęe, Hymen ades O Hymenęe.]
+
+
+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 omnipotźns dīvum pater atque hominum rźx,
+ Hōs spōnsōs bene respiciās, faveāsque per annōs.
+ Iuppiter omnipotźns, precibus sī flecteris ūllīs
+ Aspice eōs, hōc tantum, et sī pietāte merentur,
+ Dā cursum vītae iūcundum et commoda sparge
+ Multa manū plźnā; vīrźs validāsque per mensźs
+ Hī habeant, puerōs pulchrōs fortźsque nepōtźs.
+ Rźbus iūcundīs quibus adsīs Iuppiter semper.
+
+_Flamen Dialis._
+
+ Iūnō quae incźdis dīvum rźgīna Iovisque
+ Coniunx et soror, hōs spōnsōs servā atque tuźre.
+ Sint et fźlīcźs, fortźs, pietāte suprźmī;
+ Māgnā cum virtūte incźdant 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 rźs levis est
+mātrimōnium. Quid, Tullia?
+
+_Tullia._ Rźctź dīcis, frāter, mātrimōnium nōn in levī habendum est.
+
+_M. Cic._ Sint omnźs diźs fźlīcźs aequź ac hīc diźs.
+
+_Pronuba._ Spźrō, meī amīcī, omnźs diźs 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
+
+DŹDUCTIŌ
+
+ 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 tź et patre meō discźdere. Ō, mź
+miseram!
+
+_Terentia._ Ī, fīlia, ī! Saepe tuōs parentźs et frātrem vīsere poteris.
+Necesse est nunc cum marītō eās.
+
+_G. Piso._ Mihi, Tullia, cārior vītā es. Tź nōn pigźbit coniugem meam
+fierī. Id polliceor. Mźcum 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 fźcistīne tū, Tullia?
+
+_Tullia._ Nihil temporis habźbam 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 dźliciae
+puellae. Sī ūnum modo mustāceum habźmus, 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 crūdźlior īgnis?
+ Quī nātam possīs complexū āvellere mātris,
+ Complexū mātris retinentem āvellere nātam
+ Et iuvenī ārdentī castam dōnāre puellam.
+ Quid faciunt hostźs captā crūdźlius urbe?
+ Hżmźn ō Hymenaee, Hżmźn 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 fźlīx nostra vīta! Clāvźs 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, mź fźlicissimam! 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 "ę" and "ae" is unchanged, including the spelling of
+"Drāmatis Persōnę" or "-ae". Note that the name is consistently "Cęsar"
+in English, "Caesar" in Latin.
+
+ ... the writer's aim will be / accomplished
+ [_lack of closing punctuation may be intentional_]
+
+ _Gn. Pom._ Iōannźs, Iōannźs, tībīcine nātus [Iōannźs, Ioannźs]
+ Portae nōn gehennae [non]
+ When nox gives way to lūx of morning [lux]
+
+ Lege, Philotīme, omnia fragmenta. [frāgmenta]
+ Tź nōn pigźbit 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 ***
+
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