Project Gutenberg's Two Latin Plays for High-School Students, by Susan Paxson
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Title: Two Latin Plays for High-School Students
Author: Susan Paxson
Release Date: April 5, 2010 [EBook #31894]
Language: Latin
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TWO LATIN PLAYS FOR
HIGH-SCHOOL STUDENTS
By
SUSAN PAXSON
Instructor in Latin in the Omaha High School
GINN AND COMPANY
Boston · New York · Chicago · London
Atlanta · Dallas · Columbus · San Francisco
Copyright, 1911, by Susan Paxson
All Rights Reserved
522.10
The Athenæum Press
Ginn and Company · Proprietors
· Boston · U.S.A.
_CUI BONO?_
_If this little entertainment shall give pleasure and
be of profit to any who have set out on their
toilsome journey into the realm of Latin
Literature, the writer's aim will
be accomplished_
PREFATORY NOTE
I am greatly indebted to Mrs. C. H. Beeson and to Professor Frank J.
Miller, of the University of Chicago. To the former, for her most
scholarly and generous assistance in the correcting of the manuscript
and for her many valuable suggestions throughout the work; to the
latter, for his painstaking reading of the proof and for his kindly and
helpful interest. In fact, it was largely due to the helpful uplift that
came to some of my advanced classes, as well as to myself, from the
presentation of Professor Miller's "Dramatizations from Vergil" that
these little plays were written.
SUSAN PAXSON
CONTENTS
Page
INTRODUCTION ix
A ROMAN SCHOOL 1
COSTUMES 16
A ROMAN WEDDING 19
COSTUMES AND SUGGESTIONS 37
INTRODUCTION
In response to the invitation of the author and publishers, I am glad to
stand godfather to this little book of original Latin plays. They are
the product of an enthusiastic teacher coöperating with students whom
she has, in part by this means, inspired with a genuine interest in
Roman life and its expression in the Latin tongue. They offer a helpful
contribution to the solution of the ever-present and vexing problem
which teachers of Latin in secondary schools are meeting: How can we
make this Latin _interesting_ to our pupils? How can we compete with
departments which more easily hold the pupils' interest because their
subject matter touches more nearly the various phases of modern life?
It is, indeed, true that any subject well taught by a live teacher will
interest pupils. But, even where this condition is realized, the need
is being felt more and more of something which will vary the deadly
monotony incident to the learning of the technique of a language,
especially one which makes its appeal largely to the eye alone through
the medium of the printed page.
It is one of the most encouraging features of our present-day classical
work that teachers more and more are inventing ways of vitalizing their
teaching without weakening it. For this must always be borne in mind:
that we are not seeking to gain mere _interest_. What we want is
interest in _Latin_. We want our students to be so interested that they
will cheerfully endure all the hardships incident to this study because
they have discovered that it is worth while in itself, because it has
come to mean something to them, because it actually touches their own
lives.
If the reader will scan the department of "Current Events" in the
present volume of the _Classical Journal_, he will find many indications
of this new spirit among classical teachers in the schools. Thus we find
a Latin club in a high school in Columbus, Ohio, giving, among other
activities, an exhibition of a Roman _triclinium_, in which the whole
scene was enacted as nearly as possible in the Roman fashion,
accompanied by Latin songs. And thus the pupils were made to realize
that the Roman's life was not entirely one of warfare, but that he ate,
drank, and acted as a real human being. In Kansas, a classical club was
recently organized by the students of Hiawatha Academy, whose program
consists of talks on classical subjects and Latin songs, followed by a
social hour enlivened by Latin games. In Lincoln, Nebraska, a live Latin
club has originated in an exceptionally strong Cæsar class. They call
themselves the _Legio Decima_, because they scorn "anything that has to
do with cavalry"! Their program abounds in live topics connected with
the Latin work and unique representations of Roman life.
But the greatest success seems to have been gained through the dramatic
presentation of matter pertinent to the students' work. We read of a
spirited entertainment by the students of a Seattle high school, in
which were given scenes from the "Menaechmi" of Plautus, together with
the singing of several odes of Horace which had been set to appropriate
music. Others have attempted a play of Terence. Scores of schools have
presented dramatized scenes from Vergil; and we read of a school in
Georgia where Horace's ninth satire, itself a complete little drama as
it stands, was played by the students. In the same school portions of
Cæsar were dramatized and acted; and a dramatization based on the
conspiracy of Catiline was recently sent to me from a school in Indiana.
From all these and many other points it is reported that great interest
is aroused among the students, primarily in the fact and production of
the play itself, but resulting also in a permanent interest in the more
serious and regular work of the Latin class. The author of the plays
presented in this book has herself already reaped rich rewards of her
work in the continued zeal of her students for their Latin study after
they have passed on to college. She writes that the boy who played
"Cicero" in the wedding last year is now a freshman in an eastern
college, and still finds Latin the work of his greatest interest and
success; and the girl who was "Tullia" in the play is also a freshman in
college, with zeal and courage enough to attempt the composition of
Latin hymns.
The difficulty heretofore felt by teachers and their Latin clubs has
been in finding appropriate plays in Latin simple enough for their
pupils to master without undue hardship, and appealing strongly in their
subject matter to the young student; and I feel sure that in these two
plays, "A Roman School" and "A Roman Wedding," will be found just the
material which has been sought. Aside from the awakened interest of the
student and the vivid impression which his mind will receive of these
two important phases of Roman life, who can estimate the actual gain in
the acquisition of the Latin language itself, which will come not alone
to those students who are fortunate enough to take part in these plays,
but to those as well who listen to the rehearsals and to the final
production?
I therefore most cordially commend these plays to all teachers of Latin,
and urge that they be presented in the schools each year wherever
possible.
FRANK JUSTUS MILLER
The University of Chicago
A ROMAN SCHOOL
90 B.C.
DRÂMATIS PERSÔNAE
Magister
Servî
Paedagôgus
Aulus Licinius Archiâs } _iûdicês_
Pûblius Licinius Crassus }
Gâius Licinius Crassus, _adulêscêns_
_Discipulî_
Mârcus Tullius Cicerô
Quîntus Tullius Cicerô
Lûcius Sergius Catilîna
Mârcus Antônius
Gâius Iûlius Caesar
Appius Claudius Caecus
Gnaeus Pompêius
Pûblius Clôdius Pulcher
Mârcus Iûnius Brûtus
Quîntus Hortênsius Hortalus
Lûcius Licinius Lûcullus
Gâius Claudius Mârcellus
Mârcus Claudius Mârcellus
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 dâ!
_M. Cic._ Ô, dâ locum meliôribus!
_M. Ant._ Tû, Mârce, pilam nôn rêctê 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
plôstellum dâ.
_L. Luc._ Nôn, hôc plôstellum est meum. Sî tû plôstellum cupis, domum
reversus inde pete.
_M. Mar._ Mihi tû nôn grâtus es, Lûcî Lûculle.
(The _Magister_ enters and loudly calls the roll, those present
answering _adsum_.)
_Mag._ Mârcus Tullius Cicerô.
Quîntus Tullius Cicerô.
Lûcius Sergius Catilîna.
(Catilina is absent and all shout _abest_.)
Mârcus Antônius.
Gâius Claudius Mârcellus.
Gâius Iûlius Caesar.
Appius Claudius Caecus.
(Appius is absent and all again shout _abest_.)
Lûcius Licinius Lûcullus.
Gnaeus Pompêius.
Pûblius Clôdius Pulcher.
Mârcus Iûnius Brûtus.
Quîntus Hortênsius Hortalus.
Mârcus Claudius Mârcellus.
Nunc, puerî, percipite, quaesô, dîligenter, quae dîcam, et ea penitus
animîs vestrîs mentibusque mandâte. Sine morâ respondête. (Writes on the
board the sentence "Omnîs rês dî regunt.") Nômen _dî_, Mârce Cicerô,
dêscrîbe.
_M. Cic._ Dî est nômen, est dêclînâtiônis secundae, generis masculînî,
numerî plûrâlis, câsûs nôminâtîvî, ex rêgulâ prîmâ, quae dîcit: Nômen
quod subiectum verbî est, in câsû nôminâtîvô pônitur.
_Mag._ Bene, Mârce, bene! Ôlim eris tû mâgnus vir, eris cônsul, eris
ôrâtor clârissimus, quod tam dîligêns es. Quînte Cicerô! (Enter Catilina
late. He is accompanied by a _paedagogus_ carrying a bag with
_tabellae_.) Ô puer piger, homô perditissimus eris. Quô usque tandem
abûtêre, Catilîna, patientiâ nostrâ? Vâpulâbis.
_L. Cat._ Ô magister, mihi parce, frûgî erô, frûgî erô.
_Mag._ Catilîna, môre et exemplô populî Rômânî, tibi nûllô modô parcere
possum. Accêdite, servî! (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, puerî.
Quînte Cicerô, verbum _regunt_ dêscrîbe.
[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 coniugâtiônis
secundae, coniugâtiônis secundae, coniugâtiônis se . . .
_Mag._ Male, Quînte. Tû es minus dîligêns frâtre tuô Mârcô. Nescîs
quantum mê hûius negôtî taedeat. Sî pênsum crâs nôn cônfêceris, est mihi
in animô ad tuum patrem scrîbere. Haec nîl iocor. Tuam nêquitiam nôn
diûtius feram, nôn patiar, nôn sinam.
_Q. Cic._ Ô dî immortâlês, tâlem âvertite câsum et servâte piôs puerôs,
quamquam pigrî sunt.
_Mag._ Quînte Hortênsî, verbum _regunt_ dêscrîbe.
_Q. Hor._ _Regunt_ est verbum; praesêns est _regô_; înfînîtîvus,
_regere_; perfectum, _rêxî_; supînum, _rêctum_. Est coniugâtiônis
tertiae, generis actîvî, modî indicâtîvî.
_Mag._ Rêctê, rêctê, Quînte! Bonus puer es. Gnaeî Pompêî, perge.
_Gn. Pom._ (crying). Nôn pergere possum.
_Mag._ Ô puer parve, pergere potes. Hanc placentam accipe. Iam perge.
_Gn. Pom._ (taking the little cake and eating it). _Regunt_ temporis
praesentis est; persônae tertiae; numerî plûrâlis nômen sequêns, ex
rêgulâ secundâ, quae dîcit: Verbum persônam numerumque nôminis sequitur.
_Mag._ Rêctê! Nônne tibi dîxî tê rem expônere posse? Nihil agis, Gnaeî
Pompêî, nihil môlîris, nihil côgitâs, quod nôn ego nôn modo audiam, sed
etiam videam plânêque sentiam. Gâî Mârcelle, tempus futûrum flecte.
_G. Mar._ _Regam_, _regês_, _reget_, _regêmus_, _regêtis_, _regent_.
_Mag._ Quae pars ôrâtiônis est _omnîs_, Gâî?
_G. Mar._ _Omnîs_ est adiectîvum.
_Mag._ Rêctê; estne _omnîs_ dêclînâbile an indêclînâbile, Pûblî Pulcher?
_P. Pul._ _Omnîs_ est dêclînâbile, _omnis_, _omne_.
_Mag._ In quô câsû est _omnîs_, Mârce Brûte?
_M. Bru._ _Omnîs_ est câsûs accûsâtîvî ex rêgulâ quae dîcit: Nômen
adiectîvum câsum et genus nôminis substantîvî sequitur.
_Mag._ Cûius dêclînâtiônis est _omnîs_, Mârce Mârcelle?
_M. Mar._ _Omnîs_ est dêclînâtiônis tertiae.
_Mag._ Potesne omnîs dêclînâre?
_M. Mar._ Oppidô, magister, auscultâ. (Declines _omnis_.)
_Mag._ Mârcus Claudius, suô môre, optimê fêcit. Quam cônstrûctiônem
habet _rês_, Mârce Brûte?
_M. Bru._ _Rês_ est nômen câsûs accûsâtîvî, quod obiectum verbî _regunt_
est. (Enter Appius Caecus late. His _paedagogus_ accompanies him.)
_Paed._ Magister, Appius Claudius hodiê mâne aeger est, idcircô tardê
venit. (Exit.)
_Mag._ Poenâs dâ, "Micâ, Micâ," recitâ.
_App. Caec._ Micâ, micâ, parva stella,
Mîror quaenam sîs, tam bella!
Splendêns êminus in illô
Alba velut gemma caelô.
Quandô fervêns Sôl discessit,
Nec calôre prâta pâscit,
Mox ostendis lûmen pûrum
Micâns, micâns per obscûrum.
_Mag._ Quis alius recitâre potest?
_All_ (shouting). Ego possum, ego possum.
_Mag._ Bene; Mârce Antônî, recitâ.
_M. Ant._ Três philosophî dê Tusculô
Mare nâvigârunt vâsculô;
Sî vâs fuisset tûtius
Tibi canerem diûtius.
_Others_ (shouting). Mihi recitâre liceat.
_Mag._ Recitâ, Gnaeî Pompêî.
_Gn. Pom._ Iôannês, Ioannês, tîbîcine nâtus,
Fûgit perniciter porcum fûrâtus.
Sed porcus vorâtus, Iôannês dêlâtus,
Et plôrâns per viâs it fûr, flagellâtus.
_M. Bru._ (holding up his hand). Novum carmen ego possum recitâre.
_Mag._ Et tû, Brûte! Perge!
_M. Bru._ Gâius cum Gâiâ in montem
Veniunt ad hauriendum fontem;
Gâius prôlâpsus frêgit frontem,
Trâxit sêcum Gâiam însontem.[3]
[Footnote 3: Here, as well as elsewhere, remember that _Gâius_ and
_Gâia_ are each three syllables.]
_Mag._ Hôc satis est hodiê. Nunc, puerî, cor-- Quid tibi vîs, Quînte
Hortênsî? Facis ut tôtô corpore contremîscam.
_Q. Hor._ (who has been shaking his hand persistently). Magister,
ego novôs versûs prônûntiâre possum. Soror mea eôs mê docuit.
_Mag._ Recitâ celeriter.
_Q. Hor._ Iacôbulus Horner
Sedêbat in corner
Edêns Sâturnâlicium pie;
Înseruit thumb,
Extrâxit plum,
Clâmâns, Quam âcer puer sum I.
_Mag._ Nunc, puerî, corpora exercête. Ûnum, 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._ Cônsîdite. Pênsum crâstinum est pênsum decimum. Cavête nê hôc
oblîvîscâminî. Pênsum crâstinum est pênsum decimum. Et porrô hunc versum
discite: "Superanda omnis fortûna ferendô 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
geôgraphia nôbîs cônsîderanda est et Galliae opera danda. Quid dê Galliâ
potes tû dîcere, Mârce Mârcelle?
_M. Mar._ Gallia est omnis dîvîsa in partês três, quârum ûnam incolunt
Belgae, aliam Aquîtânî, tertiam quî ipsôrum linguâ Celtae, nostrâ Gallî
appellantur.
_Mag._ Pûblî Pulcher, hôrum omnium, quî fortissimî sunt?
_P. Pul._ Hôrum omnium fortissimî sunt Belgae.
_Mag._ Mihi dîc cûr Belgae fortissimî sint.
_P. Pul._ Belgae fortissimî sunt proptereâ quod â cultû atque hûmânitâte
Rômae longissimê absunt, minimêque ad eôs mercâtôrês Rômânî saepe
commeant atque ea quae ad effêminandôs animôs pertinent, important.
_Mag._ Quis fînês Galliae dêsîgnâre potest?
_All_ (raising hands). Ego, ego possum.
_Mag._ Lûcî Lûculle, Galliae fînês dêsîgnâ.
_L. Luc._ Gallia initium capit â flûmine Rhodanô; continêtur Garumnâ
flûmine, Ôceanô, fînibus Belgârum; attingit flûmen Rhênum ab Sêquanîs et
Helvêtiîs; vergit ad septentriônês.
_Mag._ Quôs deôs colunt Gallî, Gnaeî Pompêî?
_Gn. Pom._ Deôrum maximê Mercurium colunt; hunc omnium inventôrem artium
ferunt, hunc viârum atque itinerum ducem esse arbitrantur. Post hunc
Apollinem et Martem et Iovem et Minervam colunt.
_Mag._ Bene, Gnaeî. Quem deum, Catilîna, colunt Rômânî maximê?
_L. Cat._ Nôs Iovem dîvum patrem atque hominum rêgem maximê colimus.
_Mag._ Nunc, puerî, cantâte. Quod carmen hodiê cantêmus? (Many hands are
raised.) Gâî Caesar, quod carmen tû cantâre vîs?
_G. Caes._ Volô "Mîlitês Chrîstiânî" cantâre.
_Mag._ Hôc pulcherrimum carmen cantêmus. (A knock is heard. Enter
Publius Licinius Crassus and Aulus Licinius Archias with slaves carrying
scrolls.) Salvête, amîcî. Vôs advênisse gaudeô. Nônne adsîdêtis ut
puerôs cantâre audiâtis?
_A. Archias._ Iam rêctê, carmen sânê audiâmus.
_Mag._ Optimê, puerî, cantêmus. Ûnum, 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.]
Mîlitês Chrîstiânî,
Bellô pergite;
Câram Iêsû crucem
Vôs prôvehite.
Chrîstus rêx, magister,
Dûcit âgmina,
Eius iam vêxillum
It in proelia.
Mâgnum âgmen movet
Deî ecclêsia.
Gradimur sânctôrum,
Frâtrês, sêmitâ.
Nôn dîvîsî sumus,
Ûnus omnês nôs;
Ûnus spê, doctrînâ,
Câritâte nôs.
Thronî atque rêgna
Înstâbilia,
Sed per Iêsum cônstâns
Stat ecclêsia.
Portae nôn gehennae
Illam vincere,
Nec prômissus Iêsû
Potest fallere.
Popule, beâtîs
Vôs coniungite!
Carmina triumphî
Ûnâ canite;
Chrîstô rêgî honor,
Laudês, glôria,
Angelî hôc canent
Saecla omnia.
_Mag._ Iam, puerî, silentiô factô, Gâius Iûlius Caesar nôbîs suam
ôrâtiônem habêbit quam dê ambitiône suâ composuit. Hâc ôrâtiône fînîtâ,
Mârcus Tullius Cicerô suam habêbit. Ut prônûntiâtum est complûribus
diêbus ante, hî duo puerî dê praemiô inter sê contendunt. Hôc diê
fêlîcissimô duo clârissimî et honestissimî virî arbitrî sunt, Aulus
Licinius Archiâs et Pûblius Licinius Crassus. In rôstra, Gâî Iûlî
Caesar, êscende!
_G. Caes._ (Reads from a scroll or recites.) Mea câra ambitiô est
perîtus dux mîlitum fierî. Bella multa et mâgna cum gentibus omnibus
nâtiônibusque orbis terrae gerere cupiô.
Bellum înferre volô Germânîs et însulae Britanniae omnibusque populîs
Galliae et cêterîs quî inimîcô animô in populum Rômânum sunt. In prîmîs,
in însulam Britanniam pervenîre cupiô, quae omnis ferê Rômânîs est
incôgnita, et côgnoscere quanta sit mâgnitûdô însulae.
Volô pontem in Rhênô aedificâre et mâgnum exercitum trâdûcere ut metum
illîs Germânîs quibus nostra parvula corpora contemptuî sunt iniciam.
Ubi Rhênum ego trânsierô, nôn diûtius glôriâbuntur illî Germânî
mâgnitûdine suôrum corporum.
Vôs sententiam rogô, iûdicês amplissimî, nônne est haec ambitiô honesta?
Deinde rês gestâs meâs perscrîbam. Negôtium hûius historiae legendae
puerîs dabô mentium exercendârum causâ, nam mihi crêdite, commentâriî dê
bellô Gallicô ûtilês erunt ad ingenia acuenda puerôrum. (_Discipuli_
applaud.)
_Mag._ Nunc Mârcus nôbîs dê suâ cârissimâ ambitiône loquêtur. In rôstra
êscende, Mârce!
_M. Cic._ Quoad longissimê potest mêns mea respicere et ultimam memoriam
recordârî, haec mea ambitiô fuit, ut mê ad scrîbendî studium cônferam,
prîmum Rômae, deinde in aliîs urbibus.
Ambitiô mea autem est omnibus antecellere ingenî meî glôriâ, ut haec
ôrâtiô et facultâs, quantacumque in mê sit, numquam amîcôrum perîculîs
dêsit. Nônne est haec ambitiô maximum incitâmentum labôrum?
Deinde, haec est mea ambitiô, ut cônsul sim. Dê meô amôre glôriae vôbîs
cônfitêbor. Volô poêtâs reperîre quî ad glôriam meî cônsulâtûs
celebrandam omne ingenium cônferant. Nihil mê mûtum poterit dêlectâre,
nihil tacitum. Quid enim, nônne dêsîderant omnês glôriam et fâmam? Quam
multôs scrîptôrês rêrum suâram mâgnus ille Alexander sêcum habuisse
dîcitur! Itaque, ea verba quae prô meâ cônsuêtûdine breviter
simpliciterque dîxî, arbitrî, cônfîdô probâta esse omnibus. (_Discipuli_
applaud.)
_Mag._ Ut vidêtis, arbitrî clârissimî, puerî ânxiîs animîs vestrum
dêcrêtum exspectant. Quae cum ita sint, petô â vôbîs, ut testimônium
laudis dêtis.
_A. Archias._ Ambôs puerôs, magister, maximê laudamus, sed ûnus sôlus
praemium habêre potest. Nôs nôn dêcernere possumus. Itaque dêcrêvimus ut
hî puerî ambô inter sê sortiantur uter praemium obtineat. Servî, urnam
prôferte! Nômina in urnam iaciam. Quî habet nômen quod prîmum êdûcam, is
vîctor erit. (Takes from the urn a small chip and reads the name _Marcus
Tullius Cicero_.) Tê, Mârce Cicerô, victôrem esse prônûntiô. Sîc fâta
dêcrêvêrunt. Servî, corônam ferte! (Places a wreath of leaves on the
head of Marcus. The _discipuli_ again applaud.)
_M. Cic._ (going up to Cæsar). Caesar, nôlî animô frangî. Nôn dubium est
quîn tû meliôrem ôrâtiônem habuerîs.
_G. Caes._ (coolly). Dîs aliter vîsum est.
_Mag._ Vôs ambô, Gâî et Mârce, honôrî huic scholae estis. Utinam cêterî
vôs imitentur. Aliud certâmen hûius modî mox habêbimus. Loquêmur dê--
(A knock is heard. Enter Gaius Licinius Crassus.)
_G. Cras._ Mî pater!
_P. Cras._ Mî fîlî! (They embrace.)
_G. Cras._ Mâter mea mihi dîxit tê arbitrum in hôc certâmine hodiê esse.
Tê diûtius exspectâre nôn potuî. Iam diû tê vidêre cupiô et ego quoque
cupiô hôc certâmen audîre. Estne cônfectum?
_P. Cras._ Cônfectum est. Utinam hî puerî tê recitâre audiant! Tû eôs
docêre possîs quômodo discipulî Rhodiî in scholâ recitent.
_M. Cic._ Ô arbiter, nôbîs grâtissimum sit, sî tuum fîlium audîre
possîmus.
_Discipuli_ (eagerly). Ô Crasse, recitâ, recitâ!
_G. Cras._ Sî vôbîs id placet, recitâbô, meum tamen carmen longum est.
Êius titulus est "Pome of a Possum." (Recites with gesticulation.)
The nox was lit by lûx of lûna,
And 'twas a nox most opportûna
To catch a possum or a coona;
For nix was scattered o'er this mundus,
A shallow nix, et nôn profundus.
On sîc a nox, with canis ûnus,
Two boys went out to hunt for coonus.
Ûnus 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 octô span is,
But brevior legs had canis never
Quam had hîc bonus dog et clever.
Some used to say, in stultum iocum,
Quod a field was too small locum
For sîc a dog to make a turnus
Circum self from stem to sternus.
This bonus dog had one bad habit,
Amâbat much to chase a rabbit;
Amâbat plûs to catch a rattus,
Amâbat 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 terrâ vênit hellum.
Quickly ran uterque puer
Mors of possum to secure.
Cum venêrunt, 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, puerî, et staves;
As his powers nôn longius tarry,
Possum potest nôn pûgnâre;
On the nix his corpus lieth,
Ad the Styx his spirit flieth,
Joyful puerî, canis bonus
Think him dead as any stonus.
Now they seek their pater's domô,
Feeling proud as any homô,
Knowing, certê, they will blossom
Into heroes, when with possum
They arrive, narrâbunt story,
Plênus blood et plênior glory.
Pompey, David, Samson, Caesar,
Cyrus, Black Hawk, Shalmaneser!
Tell me where est now the glôria,
Where the honors of vîctôria?
Cum ad domum nârrant story,
Plênus sanguine, tragic, gory,
Pater praiseth, likewise mâter,
Wonders greatly younger frâter.
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 lûx of morning,
Albam terram much adorning,
Up they jump to see the varmen
Of which this here is the carmen.
Possum, lo, est resurrêctum!
Ecce puerum dêiectum!
Nôn relinquit track behind him,
Et the puerî never find him;
Cruel possum, bêstia vilest,
How tû puerôs beguilest;
Puerî think nôn plûs of Cæsar,
Go ad Orcum, Shalmaneser,
Take your laurels, cum the honor,
Since istud possum is a goner![5]
[Footnote 5: Anonymous.]
(_Discipuli_ applaud.)
_Mag._ Omnês quî Gâiô Crassô grâtiâs agere velint, surgite! (All stand.)
Nunc, puerî, domum redîte.
_Discipuli_ (departing).
Omne bene,
Sine poenâ
Tempus est lûdendî;
Vênit hôra
Absque morâ
Librôs dêpônendî.
Valê, magister. Valê, 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 prîma: Spônsâlia
Scaena secunda: Nûptiae
Scaena tertia: Dêductiô
DRÂMATIS PERSÔNÆ
Spônsa: Tullia
Spônsus: Gâius Pîsô
Spônsae pater: Mârcus Tullius Cicerô
Spônsae mâter: Terentia
Spônsî pater: Lûcius Pîso Frûgî
Spônsî mâter
Spônsae frâter: Mârcus Tullius Cicerô, adulêscêns
Flâmen Diâlis
Pontifex Maximus
Iûris cônsultus
Quîntus Hortênsius
Prônuba
Sîgnâtôrês
Tîbîcinês
Lîctôrês
Mârcipor }
Philotîmus } Servî
Tîrô }
Anna }
A ROMAN WEDDING
SCAENA PRÎMA
SPÔNSÂLIA
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._ Ô rem pûblicam miserâbilem! Quâ rê, Quirîtês, dubitâtis? Ô dî
immortâlês! Ubinam gentium sumus? In quâ urbe vîvimus? Quam rem pûblicam
habêmus? Vîvis, et vîvis nôn ad dêpônendam sed ad cônfîrmandam tuam
audâciam.
(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 môlîris, nihil côgitâs quod nôn ego nôn modo audiam,
sed videam. Quae cum ita sint, Catilîna, ex urbe êgredere; patent
portae, proficîscere. Mâgnô mê metû lîberâbis dum modo inter mê atque tê
mûrus intersit. Quid est enim, Catilîna, quod tê iam in hâc urbe
dêlectâre possit? Quamquam quid loquor? Tê ut ûlla rês frangat?
(A crash, similar to that of falling china, is heard.)
_Terentia._ Quid est? Vidê, Mârcipor!
(As Marcipor is about to leave, Philotimus enters at the right,
bringing in his hands the pieces of a broken vase.)
_Phil._ Ô domina, ecce, dominus, dum ôrâtiônem meditâtur, vâs quod ipse
tibi ê Graeciâ attulit, manûs gestû dêmôlîtus est.
_Terentia_ (groaning). Lege, Philotîme, omnia fragmenta. (Exit Phil.)
Mihi, Mârcipor, fer cistam ex alabastrîtâ factam. (Exit Mar.)
(To herself.) Tam molestum est ôrâtôrî nûpsisse. (Covers her face with
her hands, as if weeping.)
_M. Cic._ (proceeding with his practicing). Atque hôc quoque â mê ûnô
togâtô factum est. Mârce Tullî, quid agis? Interfectum esse Lûcium
Catilînam iam prîdem oportêbat. Quid enim malî aut sceleris fingî aut
côgitârî potest quod ille nôn concêperit? Ô rem pûblicam fortûnâtam,
ô praeclâram laudem meî cônsulâtûs, sî ex vîtâ ille exierit! Vix feram
sermônês hominum, sî id fêcerit. (Enter Marcipor with a small box.)
_Mar._ Hîc 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 tê, ô mea Terentia
cârissima, sum miserrimus. Utinam domî têcum semper manêrem. Quod cum
nôn possit, ad mê cotîdiê litterâs scrîbe. Cûrâ ut valeâs et ita tibi
persuâdê, mihi tê cârius nihil esse nec umquam fuisse. Valê, mea
Terentia, quam ego vidêre videor itaque dêbilitor lacrimîs. Cûrâ, cûrâ
tê, mea Terentia. Etiam atque etiam valê."
Quondam litterâs amantissimâs scrîpsit; nunc epistolia frîgêscunt.
Quondam vâs mihi dedit, nunc vâs mihi dêmôlîtur; quondam fuit marîtus,
nunc est ôrâtor. Tam molestum est mâtrem familiâs 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 lacrimâs? Mihi dîc.
_Terentia._ Rês nûllast! Modo putâbam quantum mûtâtus ab illô Cicerône
quî mê in mâtrimônium dûxerit, sit Cicerô quem hodiê videô. Tum
Terentiae aliqua ratiô habêbâtur. Nunc vacat Cicerô librîs modo et
ôrâtiônibus et Catilînae. Nescîs quantum mê hûius negôtî taedeat! Nûllum
tempus habês ad cônsultandum mêcum dê studiîs nostrî fîliolî. Magister
dê eô haec hodiê rettulit. (Hands Cicero a scroll.) Mê pudet fîlî.
_M. Cic._ (reading to himself the report). Dîc meô fîliô, Mârcipor,
ut ad mê veniat. (Exit Marcipor, who returns bringing young Marcus.)
_M. Cic. a._ Quid est, pater?
_M. Cic._ Tua mâter, mî fîlî, animum ânxium ob hanc renûntiâtiônem dê tê
habet. Mê quoque, cônsulem Rômânum, hûius renûntiâtiônis quibusdam
partibus pudet. (Reads aloud.) "Bis absêns." Cûr, mî fîlî, â scholâ
âfuistî?
_M. Cic. a._ Id nôn memoriâ teneô.
_Terentia._ Sunt multa quae memoriâ nôn tenês, sî ego dê hâc
renûntiâtiône iûdicâre possum.
_M. Cic._ (continues reading). "Tardus deciêns!" Deciêns! Id est
incrêdibile! Fîlius cônsulis Rômânî tardus deciêns! Mâter tua id nôn
patî dêbuit.
_Terentia_ (angrily). Mâter tua id nôn patî dêbuit! Immô vêrô pater tuus
id nôn patî debuit.
_M. Cic._ "Ars legendî _A_." Id quidem satis est. "Ars scrîbendî _D_."
_D_! Id quidem minimê satis est. Nûgâtor dêfuit officiô! "Fîlius tuus
dîcit scrîptûram tempus longius cônsûmere. Dêbet sê in scrîbendô multum
exercêre, sî scrîbere modô tolerâbilî discere vult. Arithmêtica _A_.
Huic studiô operam dat. Dêclâmâtiô _A_. Omnibus facile hôc studiô
antecellit." Bene, mî fîlî. Ea pars hûius renûntiâtiônis mihi mâgnopere
placet. Ôrâtor clârissimus ôlim eris.
_Terentia._ Ûnus ôrâtor apud nôs satis est.
_M. Cic. a._ Ôrâtor erô ôlim nihilô minus. Facile est ôrâtôrem fierî.
Dêclâmâtiô est facillima. Hodiê in scholâ hanc dêclâmâtiônem didicî:
Omnia tempus edâx dêpâscitur, omnia carpit,
Omnia sêde movet, nîl sinit esse diû.
Flûmina dêficiunt, profugum mare lîtora siccant,
Subsîdunt montês et iuga celsa ruunt.
Quid tam parva loquor? môlês pulcherrima caelî
Ardêbit flammîs tôta repente suîs.
Omnia mors poscit. Lêx est, nôn poena, perîre:
Hîc aliquô mundus tempore nûllus erit.
_Terentia._ Tâlis dêclâmâtiô est facilis. Audî quid dê geômetriâ tuâ
relâtum sit. Geômetria magis quam declâmâtiô ostendit utrum tû mentem
exerceâs.
_M. Cic._ (continues reading). "Geômetria _D_." Magister haec scripsit:
"Fîlius tuus dîcit geômetriam ôrâtôribus inûtilem esse. Eî dîligenter
domî labôrandum est." Ô Mârce, hôc est incrêdibile! Num dîxistî tû
geômetriam ôrâtôribus inûtilem esse?
_M. Cic. a._ Ô, studium geômetriae mihi odiôsum ingrâtumque est! Omnês
puerôs istîus taedet. Tantî nôn est!
_M. Cic._ Etiam sî studium tû nôn amâs, geômetriam discere dêbês. Tibi
centum sêstertiôs dabô sî summam notam in geômetriâ proximô mênse
adeptus eris.
_M. Cic. a._ (grasping his father's hand). Amô tê, pater, convenit!
Eam adipîscar!
_Terentia_ (to Anna). Estne toga parâta?
_Anna._ Parâta est, domina.
_Terentia._ Hûc venî, Mârce!
_M. Cic. a._ Ô mâter, tempus perdere nôlô. Mâlô legere.
_Terentia._ Quid dîcis? Nôn vîs? Nônne vîs novam togam habêre?
_M. Cic. a._ Nôlô. Novâ mî nîl opus est. Tam fessus sum! (Picks up a
scroll and is about to take a seat in the corner.)
_M. Cic._ Ad mâtrem tuam, Mârce Cicerô, sine morâ, accêde!
(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). Ô amîcî, salvête! ut valêtis?
_Terentia_ (greeting L. Piso). Dî duint vôbîs quaecumque optêtis.
Cicerônî modo dîcêbam nôs diû vôs nôn vidêre, praesertim tê, Pîsô.
Mârcipor, ubi est Tullia? Eî dîc ut hûc veniat.
_L. Piso._ Nôlî Tulliam vocâre. Nunc cum parentibus Tulliae agere volô,
nôn cum Tulliâ ipsâ.
_Terentia._ Nôn vîs nostram Tulliam vidêre! Quid, scîre volô?
_L. Piso._ Cum eâ hôc tempore agere nôn cupiô. Id propter quod in
vestram domum hodiê vênî tuâ, et Cicerônis rêfert. Velim vôbîscum agere
prô meô fîliô, Gâiô Pîsône, quî fîliam tuam in mâtrimônium dûcere vult.
_M. Cic._ Meam fîliam in mâtrimônium dûcere! Mea Tulliola nôndum satis
mâtûra est ut nûbat. Mea fîlia mihi cârior vîtâ ipsâ est. Eam âmittere
. . . id nôn ferre possum. Ea lûx nostra est. Meâ Tulliolâ nihil umquam
amâbilius, nec longâ vîtâ ac prope immortâlitâte dîgnius vîdî. Nôndum
annôs quattuordecim implêvit et iam êius prûdentia est mîrâbilis. Ut
magistrôs amat! Quam intellegenter legit! Nôn possum verbîs exprimere
quantô vulnere animô percutiar sî meam Tulliolam âmittam. Utinam penitus
intellegerês meôs sênsûs, quanta vîs paternî sit amôris.
_L. Piso._ Tâlia verba, Mârce Tullî, virî Rômânî nôn propria sunt.
Necesse est omnês nostrâs fîliâs in mâtrimônium dêmus. Nihil aliud
exspectâ.
_Terentia._ Nostra fîlia omnibus grâtissima est. Semper enim lepida et
lîberâlis est. Iam diû sciô nôs eam nôn semper retinêre posse.
_L. Piso._ Rêctê, rêctê! Meus fîlius bonus est; est ôrâtor. Est quoque
satis dîves. Rômae duâs aedês habet; rûre mâgnificentissima vîlla est
eî. Cum illô fîlia tua fêlîx erit. Id mihi persuâsum habeô. Quae cum ita
sint, Mârce Tullî, sine dôte tuam fîliam meô fîliô poscô.
_M. Cic._ Prohibeant dî immortâlês condiciônem êius modî. Cum mea fîlia
in mâtrimônium danda sit, nêminem côgnôvî quî illâ dîgnior sit quam tuus
fîlius êgregius.
_L. Piso_ (shaking hands with Cicero). Ô Mârce, mî amîce, dî tê
respiciant! Nunc mihi eundum est ut fîlium et sîgnâtôrês arcessam et iam
hûc revertar.
(Exeunt L. Piso and Q. Hortensius.)
_Terentia._ Dîc, Mârcipor, servîs ut in culînâ vînum, frûctûs, placentâs
parent. (Exit Marcipor.) Mârce, fîlî, sorôrem vocâ.
_M. Cic. a._ Tullia, ô Tullia,
Soror mea bella,
Amâtôres tibi sunt
Pîsô et Dolâbella.
(Enter Tullia at the right.)
Amatne Pîsô tê,
Etiam Dolâbella?
Tullia, ô Tullia,
Soror mea bella,
Pîsônem tuum marîtum fac;
Nôn grâtus Dolâbella.
_Tullia._ Ô Mârce, tuî mê taedet. Quid est, mâter?
_Terentia._ Tullia, nônne est Gâius Pîsô tibi grâtissimus?
_Tullia._ Ô, mihi satis placet. Cûr mê rogâs, mâter?
_Terentia._ Rogô, mea fîlia, quod Pîsô tê in mâtrimônium dûcere vult.
Tibi placetne hôc?
_Tullia._ Mihi placet sî--
_Terentia._ Sî--quid, mea fîlia?
_Tullia._ Ô mâter, nôlô nûbere. Sum fêlîx têcum et patre et Mârcô. Vîxî
tantum quattuordecim annôs. Puella diûtius esse volô, nôn mâter
familiâs.
_Terentia._ Pîsô dîves est. Pater tuus nôn mâgnâs dîvitiâs nunc habet.
Meum argentum quoque cônsûmptum est. Etiam haec domus nostra nôn diûtius
erit. Quid faciâmus sî tû nôn bene nûbês?
_Tullia._ Sciô patrem meum nôn mâgnâs possessiônês habêre; quid vêrô,
mâter? Servîlia, Lûcullî spônsa, quî modo rediit spoliîs Orientis
onustus, semper suam fortûnam queritur. Misera Lûcullum ôdit ac
dêtestâtur. Hesternô diê meîs auribus Servîliam haec verba dîcere
audîvî: "Mê miseram! Înfêlîcissimam vîtam! Fêminam maestam! quid faciam?
Mihi dêlêctus est marîtus ôdiôsus. Nêmô rogâvit quî vir mihi maximê
placeat. Coniugem novum ôderô, id certum est. Prae lacrimîs nôn iam
loquî possum." Ô mâter! ego sum aequê trîstis ac Servîlia. Nôlô Gâiô
Pîsônî nûbere. Nûllî hominî, neque Rômânô neque peregrînô, quem vîderim,
nûbere volô.
_Terentia._ Tullia, mea fîlia, mâtris et nostrae domûs miserêre! Hodiê
pater â mê argentum postulâbat quod eî dare nôn poteram. Pîsô dîtissimus
est et nôbîs auxiliô esse potest. Parentum tuôrum causâ tê ôrô nê hunc
êgregium adulêscentem aspernêris.
_Tullia._ Ô Servîliam et Tulliam, ambâs miserâs! Quid dîcis tû, mî
pater? Vîs tû quoque mê in mâtrimônium dare?
_M. Cic._ Ô mea Tulliola, mê nôlî rogâre. Nescîs quantum ego tê amem.
Sine tê vîvere nôn poterô. Id mihi persuâsum habeô. Putô tamen, sî pâcem
apud nôs habêre velîmus, tê mâtris iussa sequî necesse esse.
_Tullia._ Volô, mî pater, tê pâcem habêre. Tua vîta tam perturbâta fuit.
Nûbam, sed ô mê 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 salvête, ô amîcî. Tulliae vix
persuâdêre poteram, tamen nôn iam invîta est.
_L. Piso._ Bene, bene, hîc est mihi diês grâtissimus. Parâta sunt omnia?
_Terentia._ Omnia parâta sunt, sed iûris cônsultus nôndum vênit.
_L. Piso._ Ille quidem ad tempus adesse pollicitus est.
_Terentia._ Id spêrô. Tîbîcinês, Mârcipor, hûc arcesse. (Enter Q.
Hortensius and his wife, together with the pronuba and the _iuris
consultus_.) Salvête, meî amîcî. Adsîdite sî placet.
_Iuris con._ Sî mihi veniam dabitis, nôn diû morârî velim. Înstâns
negôtium mê in forô flâgitat. Mihi mâtûrandum est. (Goes to a table with
M. Cicero and busies himself with the _tabulae nuptiales_.)
_L. Piso._ Mâtûrêmus! Gâî et Tullia, ad mê venîte! (To Cicero.)
Spondêsne Tulliam, tuam fîliam, meô fîliô uxôrem darî?
_M. Cic._ Dî bene vertant! Spondeô.
_L. Piso._ Dî bene vertant!
_G. Piso_ (placing a ring on the fourth finger of Tullia's left hand).
Hunc ânulum quî meum longum amôrem testêtur aceipe. Manum, Tullia, tibi
dô, et vim bracchiôrum et celeritâtem pedum et glôriam meôrum patrum.
Tê amô, pulchra puella. Tê ûnam semper amâbô. Mihi es tû cârior omnibus
quae in terrâ caelôque sunt. Fêlîcês semper sîmus!
_Iuris con._ Tabulae nûptiâlês sunt parâtae et ecce condiciônês.
(Reads.) "Hôc diê, prîdiê Îdûs Aprîlês, annô sescentêsimô nônâgêsimô
prîmô post Rômam conditam, M. Tulliô Cicerône Gâiô Antôniô cônsulibus,
ego M. Tullius Cicerô meam fîliam Tulliam Gâiô Calpurniô Lûcî fîliô
Pîsônî spondeô. Eam cum dôte dare spondeô. Ea dôs erit quîndecim mîlia
sêstertium." (Turning to Gaius.) Gâî Pîsô, spondêsne tê Tulliam semper
amâtûrum cultûrumque?
_Gr. Piso._ Id spondeô.
_Iuris con._ Spondêsne tû, Tullia, tê Gâiô Pîsônî semper obsecutûram
esse?
_Tullia._ Id spondeô.
_Iuris con._ (stamping the _tabulae_ with a seal). Nuc subscrîbite!
Tû prîmus, Cicerô, deinde Terentia et Tullia et Gâius.
(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._ Beâtî vîvâtis, Pîsô et Tullia! Omnês spônsô et spônsae salûtem
propînêmus! (All drink to the health of the betrothed.)
_M. Cic. a._ Sint dî semper volentês propitiîque ipsîs domuî
familiaeque. Sit vôbîs fortûna benîgna!
_M. Cic._ Tibi grâtulor, Pîsô. Tû pulcherrimam et optimam puellam tôtîus
Rômae adeptus es.
_Pronuba._ Ô fortûnâte adulêscêns quî tâlem puellam invênerîs!
_Iuris con._ Sîgnâvêruntne omnês? Tû, Quînte Hortênsî, nôndum
subscrîpsistî.
_Q. Hor._ Id statim faciam. (Signs.)
_Pronuba._ Nunc omnês cantêmus!
(All join in singing, accompanied by the _tibicines_.)
[Music:
Hespere, qui caelo fertur crudelior ignis?
Qui natam possis complexu avellere matris,
Complexu matris retinentem avellere natam
Et iuveni ardenti castam donare puellam.
Quid faciunt hostes capta crudelius urbe?
Hymen O Hymenæe, Hymen ades O Hymenæe.]
SECUNDA SCAENA
NÛPTIAE
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. Mâgna grâtia dîs immortâlibus 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 tû Gâius, ego Gâia.
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 omnipotêns dîvum pater atque hominum rêx,
Hôs spônsôs bene respiciâs, faveâsque per annôs.
Iuppiter omnipotêns, precibus sî flecteris ûllîs
Aspice eôs, hôc tantum, et sî pietâte merentur,
Dâ cursum vîtae iûcundum et commoda sparge
Multa manû plênâ; vîrês validâsque per mensês
Hî habeant, puerôs pulchrôs fortêsque nepôtês.
Rêbus iûcundîs quibus adsîs Iuppiter semper.
_Flamen Dialis._
Iûnô quae incêdis dîvum rêgîna Iovisque
Coniunx et soror, hôs spônsôs servâ atque tuêre.
Sint et fêlîcês, fortês, pietâte suprêmî;
Mâgnâ cum virtûte incêdant omnibus annîs,
Semper fortûnâtî, semper et usque beâtî.
(The pronuba now uncovers the heads of the wedded pair and they
receive congratulations.)
_L. Piso._ Beâtî vîvâtis, Gâî et Tullia!
_Terentia._ Vôbîs sint dî semper faustî!
_M. Cic. a._ Vôbîs ambôbus grâtulor. Sed nûlla rês levis est
mâtrimônium. Quid, Tullia?
_Tullia._ Rêctê dîcis, frâter, mâtrimônium nôn in levî habendum est.
_M. Cic._ Sint omnês diês fêlîcês aequê ac hîc diês.
_Pronuba._ Spêrô, meî amîcî, omnês diês vôbîs laetissimôs futûrôs 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
DÊDUCTIÔ
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._ Ô mâter, mâter, nôlô â tê et patre meô discêdere. Ô, mê
miseram!
_Terentia._ Î, fîlia, î! Saepe tuôs parentês et frâtrem vîsere poteris.
Necesse est nunc cum marîtô eâs.
_G. Piso._ Mihi, Tullia, cârior vîtâ es. Tê nôn pigêbit coniugem meam
fierî. Id polliceor. Mêcum venî, Tullia cârissima!
_Tullia._ Sîc estô. Prius mustâceum edendum est. (She cuts the wedding
cake and all partake.)
_L. Pisonis uxor._ Hôc mustâceum optimum est. Hôc fêcistîne tû, Tullia?
_Tullia._ Nihil temporis habêbam quô mustâceum facerem. Multa mihi ûnô
tempore agenda erant.
_Terentia._ Tullia mustâceum facere potest sî spatium datur.
_M. Cic. a._ (taking another piece of cake). Tullia est dêliciae
puellae. Sî ûnum modo mustâceum habêmus, ad novam domum Tulliae
proficîscâmur.
(Others cry out) Eâmus!
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, quî caelô fertur crûdêlior îgnis?
Quî nâtam possîs complexû âvellere mâtris,
Complexû mâtris retinentem âvellere nâtam
Et iuvenî ârdentî castam dônâre puellam.
Quid faciunt hostês captâ crûdêlius urbe?
Hýmên ô Hymenaee, Hýmên ades ô 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 tû Gâius, ego Gâia.
_G. Piso_ (presenting to her the keys, which she fastens in her girdle).
Sit fêlîx nostra vîta! Clâvês meae domûs, 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:
Ô, mê fêlicissimam! proxima Tulliae nûbam.
(Tullia kneels at the altar and offers prayer to Juno.)
Iûnô, es auctor mûnerum,
Iûnô, mâter omnium,
Nôbîs dâ nunc gaudium.
Iûnô, adiûtrîx es hominum,
Iûnô, summa caelitum,
Nôbis sîs auxilium.
[Illustration: ROMAN MARRIAGE]
COSTUMES AND SUGGESTIONS
The bride wears a white dress trimmed with purple fringe, a girdle of
crimson wool, and a long yellow veil. She has on many bright-colored
ribbons, many bracelets and rings, and high yellow shoes with buckles.
Her hair is arranged in six locks parted by the point of a spear and
held in place by _vittae_ or bands.
The Pontifex should have a band of purple three inches wide around the
bottom of his toga.
The boys should wear straight robes reaching to the knee and gathered at
the shoulders. The garb of the statue "Diana of the Hind" is a good
illustration.
The slaves wear bright-colored tunics reaching to the knees.
Valuable suggestions may be found in Johnston's "Private Life of the
Romans," "Harper's Dictionary of Classical Antiquities," and _Harper's
Magazine_, Vol. 46.
The individual parts should be thoroughly learned and practiced before a
full rehearsal is attempted.
Especial emphasis should be placed upon the necessity of reciting the
parts slowly and distinctly.
The signing of the _tabulae nuptiales_ was a part of the _nuptiae_, but
it has been introduced during the _sponsalia_ to give better balance to
the play. Wherever permissible, very simple Latin has been used in order
to render the task of memorizing as easy as possible.
SCENE I
SPONSALIA--BETROTHAL
Cicero's house. Terentia complains that Cicero neglects her and that he
devotes too much time to the prosecution of Catiline and to study. The
school report (renuntiatio) of her son, the young Cicero, also causes
her anxiety. Marcus junior adds to her anxiety by affirming that he
wishes to become an orator like his father. He promises, however, that
he will study his geometry more diligently and thereby gain the reward
offered by Cicero. Lucius Piso calls at Cicero's home to ask the hand of
Tullia for his son Gaius Piso. Terentia is pleased with the prospect of
marrying her daughter so well. Tullia herself and Cicero prefer to wait
until Tullia is older. Tullia says she can sympathize with Servilia and
others who have no girlhood on account of marrying so young; but finally
she yields to her mother's wish and consents to become betrothed to
Gaius. The witnesses arrive and the betrothal (sponsalia) takes place.
The marriage contract (tabulae nuptiales) is signed, showing the amount
of dowry. Refreshments are partaken of, following a libation in honor of
the gods. Congratulations are offered and the wedding hymn is sung.
SCENE II
NUPTIAE--WEDDING CEREMONY
The auspices are taken and pronounced favorable. The groom and bride
assume the names of Gaius and Gaia, respectively. These particular names
were chosen, according to some, out of respect to the noted spinner
Gaius and his royal wife, who were held by the Romans as a pattern of
conjugal fidelity and skilled industry; according to others, because of
the derivation from _gaudere_. Tullia with the words "Ubi tu Gaius, ego
Gaia" (where you are Gaius, I am Gaia) signifies her willingness to
enter the gens of her husband. The eating of the cake presented by the
Pontifex (confarreatio) is the most important part of the ceremony,
suggesting the sacramental view of marriage. The skin upon which the
bride and groom are seated is supposed to be that of the sheep
sacrificed before the ceremony begins. Prayer is offered to Jupiter by
the Pontifex, and to Juno by the Flamen Dialis, after which
congratulations are offered.
SCENE III
DEDUCTIO--PROCESSION TO THE GROOM'S HOUSE
The bride is taken, to all appearances, by force from her mother's
embrace,--a survival of the marriage by capture, or, as the Romans
themselves put it, a reminiscence of the Sabine marriage. The
_mustaceum_, or wedding cake, is eaten, and the procession begins,
all singing the wedding hymn. The groom throws nuts to the boys in the
street as a sign that he will now put away childish things. Arriving at
the groom's house, the bride anoints the doorposts with oil to signify
health and plenty, and then offers a prayer for future happiness.
* * * * *
* * * *
* * * * *
Errata
Variation between "æ" and "ae" is unchanged, including the spelling of
"Drâmatis Persônæ" or "-ae". Note that the name is consistently "Cæsar"
in English, "Caesar" in Latin.
... the writer's aim will be / accomplished
[_lack of closing punctuation may be intentional_]
_Gn. Pom._ Iôannês, Iôannês, tîbîcine nâtus [Iôannês, Ioannês]
Portae nôn gehennae [non]
When nox gives way to lûx of morning [lux]
Lege, Philotîme, omnia fragmenta. [frâgmenta]
Tê nôn pigêbit coniugem [non]
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