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 *** ***** 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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