Project Gutenberg's Two Latin Plays for High-School Students, by Susan Paxson

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org


Title: Two Latin Plays for High-School Students

Author: Susan Paxson

Release Date: April 5, 2010 [EBook #31894]

Language: Latin

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK TWO LATIN PLAYS ***




Produced by Louise Hope, David Starner, Chuck Greif and
the Online Distributed Proofreading Team at
https://www.pgdp.net





[This text is intended for users whose text readers cannot use the
"real" (Unicode/UTF-8) version of the file. All macrons ("long" marks)
have been changed to circumflex accents; y with macron (rare) is shown
as . The "true" circumflex does not occur. Curly quotes and apostrophes
have been changed to their simpler "typewriter" form.]




  TWO LATIN PLAYS FOR
  HIGH-SCHOOL STUDENTS


  By

  SUSAN PAXSON

  Instructor in Latin in the Omaha High School


  GINN AND COMPANY
  Boston  New York  Chicago  London
  Atlanta  Dallas  Columbus  San Francisco




  Copyright, 1911, by Susan Paxson
  All Rights Reserved
  522.10


  The Athenum Press

  Ginn and Company  Proprietors
   Boston  U.S.A.




  _CUI BONO?_


  _If this little entertainment shall give pleasure and
  be of profit to any who have set out on their
  toilsome journey into the realm of Latin
  Literature, the writer's aim will
  be accomplished_




PREFATORY NOTE


I am greatly indebted to Mrs. C. H. Beeson and to Professor Frank J.
Miller, of the University of Chicago. To the former, for her most
scholarly and generous assistance in the correcting of the manuscript
and for her many valuable suggestions throughout the work; to the
latter, for his painstaking reading of the proof and for his kindly and
helpful interest. In fact, it was largely due to the helpful uplift that
came to some of my advanced classes, as well as to myself, from the
presentation of Professor Miller's "Dramatizations from Vergil" that
these little plays were written.

  SUSAN PAXSON




CONTENTS


                                    Page

  INTRODUCTION                        ix

  A ROMAN SCHOOL                       1

      COSTUMES                        16

  A ROMAN WEDDING                     19

      COSTUMES AND SUGGESTIONS        37




INTRODUCTION


In response to the invitation of the author and publishers, Iam glad to
stand godfather to this little book of original Latin plays. They are
the product of an enthusiastic teacher coperating with students whom
she has, in part by this means, inspired with a genuine interest in
Roman life and its expression in the Latin tongue. They offer a helpful
contribution to the solution of the ever-present and vexing problem
which teachers of Latin in secondary schools are meeting: How can we
make this Latin _interesting_ to our pupils? How can we compete with
departments which more easily hold the pupils' interest because their
subject matter touches more nearly the various phases of modern life?
It is, indeed, true that any subject well taught by a live teacher will
interest pupils. But, even where this condition is realized, the need
is being felt more and more of something which will vary the deadly
monotony incident to the learning of the technique of a language,
especially one which makes its appeal largely to the eye alone through
the medium of the printed page.

It is one of the most encouraging features of our present-day classical
work that teachers more and more are inventing ways of vitalizing their
teaching without weakening it. For this must always be borne in mind:
that we are not seeking to gain mere _interest_. What we want is
interest in _Latin_. We want our students to be so interested that they
will cheerfully endure all the hardships incident to this study because
they have discovered that it is worth while in itself, because it has
come to mean something to them, because it actually touches their own
lives.

If the reader will scan the department of "Current Events" in the
present volume of the _Classical Journal_, he will find many indications
of this new spirit among classical teachers in the schools. Thus we find
a Latin club in a high school in Columbus, Ohio, giving, among other
activities, an exhibition of a Roman _triclinium_, in which the whole
scene was enacted as nearly as possible in the Roman fashion,
accompanied by Latin songs. And thus the pupils were made to realize
that the Roman's life was not entirely one of warfare, but that he ate,
drank, and acted as a real human being. In Kansas, aclassical club was
recently organized by the students of Hiawatha Academy, whose program
consists of talks on classical subjects and Latin songs, followed by a
social hour enlivened by Latin games. In Lincoln, Nebraska, alive Latin
club has originated in an exceptionally strong Csar class. They call
themselves the _Legio Decima_, because they scorn "anything that has to
do with cavalry"! Their program abounds in live topics connected with
the Latin work and unique representations of Roman life.

But the greatest success seems to have been gained through the dramatic
presentation of matter pertinent to the students' work. We read of a
spirited entertainment by the students of a Seattle high school, in
which were given scenes from the "Menaechmi" of Plautus, together with
the singing of several odes of Horace which had been set to appropriate
music. Others have attempted a play of Terence. Scores of schools have
presented dramatized scenes from Vergil; and we read of a school in
Georgia where Horace's ninth satire, itself a complete little drama as
it stands, was played by the students. In the same school portions of
Csar were dramatized and acted; and a dramatization based on the
conspiracy of Catiline was recently sent to me from a school in Indiana.

From all these and many other points it is reported that great interest
is aroused among the students, primarily in the fact and production of
the play itself, but resulting also in a permanent interest in the more
serious and regular work of the Latin class. The author of the plays
presented in this book has herself already reaped rich rewards of her
work in the continued zeal of her students for their Latin study after
they have passed on to college. She writes that the boy who played
"Cicero" in the wedding last year is now a freshman in an eastern
college, and still finds Latin the work of his greatest interest and
success; and the girl who was "Tullia" in the play is also a freshman in
college, with zeal and courage enough to attempt the composition of
Latin hymns.

The difficulty heretofore felt by teachers and their Latin clubs has
been in finding appropriate plays in Latin simple enough for their
pupils to master without undue hardship, and appealing strongly in their
subject matter to the young student; and I feel sure that in these two
plays, "ARoman School" and "ARoman Wedding," will be found just the
material which has been sought. Aside from the awakened interest of the
student and the vivid impression which his mind will receive of these
two important phases of Roman life, who can estimate the actual gain in
the acquisition of the Latin language itself, which will come not alone
to those students who are fortunate enough to take part in these plays,
but to those as well who listen to the rehearsals and to the final
production?

I therefore most cordially commend these plays to all teachers of Latin,
and urge that they be presented in the schools each year wherever
possible.

  FRANK JUSTUS MILLER
  The University of Chicago




A ROMAN SCHOOL

90 B.C.




  DRMATIS PERSNAE

  Magister
  Serv
  Paedaggus
  Aulus Licinius Archis   } _idics_
  Pblius Licinius Crassus }
  Gius Licinius Crassus, _adulscns_

  _Discipul_

    Mrcus Tullius Cicer
    Quntus Tullius Cicer
    Lcius Sergius Catilna
    Mrcus Antnius
    Gius Ilius Caesar
    Appius Claudius Caecus
    Gnaeus Pompius
    Pblius Cldius Pulcher
    Mrcus Inius Brtus
    Quntus Hortnsius Hortalus
    Lcius Licinius Lcullus
    Gius Claudius Mrcellus
    Mrcus Claudius Mrcellus




A ROMAN SCHOOL


  When the curtain is drawn, plain wooden benches are seen arranged in
  order on the stage. Two boys stand at the blackboard, playing "odd
  or even"; two others are noisily playing _nuces_[1]; one is playing
  with a top, another is rolling a hoop, and a third is drawing a
  little toy cart. Three boys in the foreground are playing ball. They
  are Quintus Cicero, Marcus Cicero, and Marcus Antonius. With their
  conversation the scene begins.

    [Footnote 1: "Four or five of these (walnuts) are piled
    pyramidally together, when the players, withdrawing to a short
    distance, pitch another walnut at them, and he who succeeds in
    striking and dispersing the heap wins." Story, "Roba di Roma,"
    p. 128.]

_Q. Cic._ Mihi pilam d!

_M. Cic._ , d locum meliribus!

_M. Ant._ T, Mrce, pilam nn rct remittis. Oportet altius iacere.

_M. Cic._ Iam satis alta erit. Hanc excipe!

  (Tosses the ball very high.)

_M. Mar._ (going up to L. Lucullus who has the cart). Mihi
plstellumd.

_L. Luc._ Nn, hc plstellum est meum. S t plstellum cupis, domum
reversus inde pete.

_M. Mar._ Mihi t nn grtus es, Lc Lculle.

  (The _Magister_ enters and loudly calls the roll, those present
  answering _adsum_.)

_Mag._  Mrcus Tullius Cicer.
        Quntus Tullius Cicer.
        Lcius Sergius Catilna.

  (Catilina is absent and all shout _abest_.)

        Mrcus Antnius.
        Gius Claudius Mrcellus.
        Gius Ilius Caesar.
        Appius Claudius Caecus.

  (Appius is absent and all again shout _abest_.)

        Lcius Licinius Lcullus.
        Gnaeus Pompius.
        Pblius Cldius Pulcher.
        Mrcus Inius Brtus.
        Quntus Hortnsius Hortalus.
        Mrcus Claudius Mrcellus.

Nunc, puer, percipite, quaes, dligenter, quae dcam, et ea penitus
anims vestrs mentibusque mandte. Sine mor respondte. (Writes on the
board the sentence "Omns rs d regunt.") Nmen _d_, Mrce Cicer,
dscrbe.

_M. Cic._ D est nmen, est dclntinis secundae, generis masculn,
numer plrlis, css nmintv, ex rgul prm, quae dcit: Nmen
quod subiectum verb est, in cs nmintv pnitur.

_Mag._ Bene, Mrce, bene! lim eris t mgnus vir, eris cnsul, eris
rtor clrissimus, quod tam dligns es. Qunte Cicer! (Enter Catilina
late. He is accompanied by a _paedagogus_ carrying a bag with
_tabellae_.)  puer piger, hom perditissimus eris. Qu usque tandem
abtre, Catilna, patienti nostr? Vpulbis.

_L. Cat._  magister, mihi parce, frg er, frg er.

_Mag._ Catilna, mre et exempl popul Rmn, tibi nll mod parcere
possum. Accdite, serv! (Enter two _servi_, one of whom takes Catilina
by the head, the other by the feet, while the _magister_ pretends to
flog him severely, and then resumes the lesson.[2]) Pergite, puer.
Qunte Cicer, verbum _regunt_ dscrbe.

    [Footnote 2: See Johnston, "Private Life of the Romans," p. 81;
    or Miller, "The Story of a Roman Boy."]

_Q. Cic._ (hesitatingly). _Regunt_ est verbum. Est coniugtinis
secundae, coniugtinis secundae, coniugtinis se...

_Mag._ Male, Qunte. T es minus dligns frtre tu Mrc. Nescs
quantum m hius negt taedeat. S pnsum crs nn cnfceris, est mihi
in anim ad tuum patrem scrbere. Haec nl iocor. Tuam nquitiam nn
ditius feram, nn patiar, nn sinam.

_Q. Cic._  d immortls, tlem vertite csum et servte pis puers,
quamquam pigr sunt.

_Mag._ Qunte Hortns, verbum _regunt_ dscrbe.

_Q. Hor._ _Regunt_ est verbum; praesns est _reg_; nfntvus,
_regere_; perfectum, _rx_; supnum, _rctum_. Est coniugtinis
tertiae, generis actv, mod indictv.

_Mag._ Rct, rct, Qunte! Bonus puer es. Gnae Pomp, perge.

_Gn. Pom._ (crying). Nn pergere possum.

_Mag._  puer parve, pergere potes. Hanc placentam accipe. Iam perge.

_Gn. Pom._ (taking the little cake and eating it). _Regunt_ temporis
praesentis est; persnae tertiae; numer plrlis nmen sequns, ex
rgul secund, quae dcit: Verbum persnam numerumque nminis sequitur.

_Mag._ Rct! Nnne tibi dx t rem expnere posse? Nihil agis, Gnae
Pomp, nihil mlris, nihil cgits, quod nn ego nn modo audiam, sed
etiam videam plnque sentiam. G Mrcelle, tempus futrum flecte.

_G. Mar._ _Regam_, _regs_, _reget_, _regmus_, _regtis_, _regent_.

_Mag._ Quae pars rtinis est _omns_, G?

_G. Mar._ _Omns_ est adiectvum.

_Mag._ Rct; estne _omns_ dclnbile an indclnbile, Pbl Pulcher?

_P. Pul._ _Omns_ est dclnbile, _omnis_, _omne_.

_Mag._ In qu cs est _omns_, Mrce Brte?

_M. Bru._ _Omns_ est css accstv ex rgul quae dcit: Nmen
adiectvum csum et genus nminis substantv sequitur.

_Mag._ Cius dclntinis est _omns_, Mrce Mrcelle?

_M. Mar._ _Omns_ est dclntinis tertiae.

_Mag._ Potesne omns dclnre?

_M. Mar._ Oppid, magister, auscult. (Declines _omnis_.)

_Mag._ Mrcus Claudius, su mre, optim fcit. Quam cnstrctinem
habet _rs_, Mrce Brte?

_M. Bru._ _Rs_ est nmen css accstv, quod obiectum verb _regunt_
est. (Enter Appius Caecus late. His _paedagogus_ accompanies him.)

_Paed._ Magister, Appius Claudius hodi mne aeger est, idcirc tard
venit. (Exit.)

_Mag._ Poens d, "Mic, Mic," recit.

_App. Caec._  Mic, mic, parva stella,
              Mror quaenam ss, tam bella!
              Splendns minus in ill
              Alba velut gemma cael.

              Quand fervns Sl discessit,
              Nec calre prta pscit,
              Mox ostendis lmen prum
              Micns, micns per obscrum.

_Mag._ Quis alius recitre potest?

_All_ (shouting). Ego possum, ego possum.

_Mag._ Bene; Mrce Antn, recit.

_M. Ant._     Trs philosoph d Tuscul
              Mare nvigrunt vscul;
              S vs fuisset ttius
              Tibi canerem ditius.

_Others_ (shouting). Mihi recitre liceat.

_Mag._ Recit, Gnae Pomp.

_Gn. Pom._    Ianns, Ioanns, tbcine ntus,
              Fgit perniciter porcum frtus.
              Sed porcus vortus, Ianns dltus,
              Et plrns per vis it fr, flagelltus.

_M. Bru._ (holding up his hand). Novum carmen ego possum recitre.

_Mag._ Et t, Brte! Perge!

_M. Bru._     Gius cum Gi in montem
              Veniunt ad hauriendum fontem;
              Gius prlpsus frgit frontem,
              Trxit scum Giam nsontem.[3]

    [Footnote 3: Here, as well as elsewhere, remember that _Gius_ and
    _Gia_ are each three syllables.]

_Mag._ Hc satis est hodi. Nunc, puer, cor-- Quid tibi vs, Qunte
Hortns? Facis ut tt corpore contremscam.

_Q. Hor._ (who has been shaking his hand persistently). Magister,
ego novs verss prnntire possum. Soror mea es m docuit.

_Mag._ Recit celeriter.

_Q. Hor._     Iacbulus Horner
              Sedbat in corner
              Edns Sturnlicium pie;
              nseruit thumb,
              Extrxit plum,
              Clmns, Quam cer puer sum I.

_Mag._ Nunc, puer, corpora exercte. num, duo, tria.

  (The _discipuli_ now perform gymnastic exercises, following the
  example of the _magister_, who goes through the movements with
  them. These may be made very amusing, especially if the following
  movements are used: Arms sideways--stretch; heels--raise, knee bend;
  forehead--firm; right knee upward--bend.)

_Mag._ Cnsdite. Pnsum crstinum est pnsum decimum. Cavte n hc
oblvscmin. Pnsum crstinum est pnsum decimum. Et porr hunc versum
discite: "Superanda omnis fortna ferend est." (The _magister_ repeats
this verse emphatically several times in a loud and formal tone, the
_discipuli_ repeating it after him at the top of their voices.) Iam
gegraphia nbs cnsderanda est et Galliae opera danda. Quid d Galli
potes t dcere, Mrce Mrcelle?

_M. Mar._ Gallia est omnis dvsa in parts trs, qurum nam incolunt
Belgae, aliam Aqutn, tertiam qu ipsrum lingu Celtae, nostr Gall
appellantur.

_Mag._ Pbl Pulcher, hrum omnium, qu fortissim sunt?

_P. Pul._ Hrum omnium fortissim sunt Belgae.

_Mag._ Mihi dc cr Belgae fortissim sint.

_P. Pul._ Belgae fortissim sunt proptere quod  cult atque hmnitte
Rmae longissim absunt, minimque ad es merctrs Rmn saepe
commeant atque ea quae ad effminands anims pertinent, important.

_Mag._ Quis fns Galliae dsgnre potest?

_All_ (raising hands). Ego, ego possum.

_Mag._ Lc Lculle, Galliae fns dsgn.

_L. Luc._ Gallia initium capit  flmine Rhodan; contintur Garumn
flmine, cean, fnibus Belgrum; attingit flmen Rhnum ab Squans et
Helvtis; vergit ad septentrins.

_Mag._ Qus des colunt Gall, Gnae Pomp?

_Gn. Pom._ Derum maxim Mercurium colunt; hunc omnium inventrem artium
ferunt, hunc virum atque itinerum ducem esse arbitrantur. Post hunc
Apollinem et Martem et Iovem et Minervam colunt.

_Mag._ Bene, Gnae. Quem deum, Catilna, colunt Rmn maxim?

_L. Cat._ Ns Iovem dvum patrem atque hominum rgem maxim colimus.

_Mag._ Nunc, puer, cantte. Quod carmen hodi cantmus? (Many hands are
raised.) G Caesar, quod carmen t cantre vs?

_G. Caes._ Vol "Mlits Chrstin" cantre.

_Mag._ Hc pulcherrimum carmen cantmus. (A knock is heard. Enter
Publius Licinius Crassus and Aulus Licinius Archias with slaves carrying
scrolls.) Salvte, amc. Vs advnisse gaude. Nnne adsdtis ut
puers cantre auditis?

_A. Archias._ Iam rct, carmen sn audimus.

_Mag._ Optim, puer, cantmus. num, duo, tria.

  (All rise and sing; each has the song[4] before him on a scroll.)

    [Footnote 4: Tune of "Onward, Christian Soldiers." Slightly
    altered from _Education_, Vol. IX, p. 187. The author hopes that
    this most obvious anachronism will be pardoned on the ground that
    this hymn appeals to young pupils more than most Latin songs,
    and is therefore enjoyed by them and more easily learned.]

    Mlits Chrstin,
    Bell pergite;
    Cram Is crucem
    Vs prvehite.
    Chrstus rx, magister,
    Dcit gmina,
    Eius iam vxillum
    It in proelia.

    Mgnum gmen movet
    De ecclsia.
    Gradimur snctrum,
    Frtrs, smit.
    Nn dvs sumus,
    nus omns ns;
    nus sp, doctrn,
    Critte ns.

    Thron atque rgna
    nstbilia,
    Sed per Isum cnstns
    Stat ecclsia.
    Portae nn gehennae
    Illam vincere,
    Nec prmissus Is
    Potest fallere.

    Popule, bets
    Vs coniungite!
    Carmina triumph
    n canite;
    Chrst rg honor,
    Lauds, glria,
    Angel hc canent
    Saecla omnia.

_Mag._ Iam, puer, silenti fact, Gius Ilius Caesar nbs suam
rtinem habbit quam d ambitine su composuit. Hc rtine fnt,
Mrcus Tullius Cicer suam habbit. Ut prnntitum est complribus
dibus ante, h duo puer d praemi inter s contendunt. Hc di
flcissim duo clrissim et honestissim vir arbitr sunt, Aulus
Licinius Archis et Pblius Licinius Crassus. In rstra, G Il
Caesar, scende!

_G. Caes._ (Reads from a scroll or recites.) Mea cra ambiti est
pertus dux mlitum fier. Bella multa et mgna cum gentibus omnibus
ntinibusque orbis terrae gerere cupi.

Bellum nferre vol Germns et nsulae Britanniae omnibusque populs
Galliae et cters qu inimc anim in populum Rmnum sunt. In prms,
in nsulam Britanniam pervenre cupi, quae omnis fer Rmns est
incgnita, et cgnoscere quanta sit mgnitd nsulae.

Vol pontem in Rhn aedificre et mgnum exercitum trdcere ut metum
ills Germns quibus nostra parvula corpora contemptu sunt iniciam.
Ubi Rhnum ego trnsier, nn ditius glribuntur ill Germn
mgnitdine surum corporum.

Vs sententiam rog, idics amplissim, nnne est haec ambiti honesta?

Deinde rs gests mes perscrbam. Negtium hius historiae legendae
puers dab mentium exercendrum caus, nam mihi crdite, commentri d
bell Gallic tils erunt ad ingenia acuenda puerrum. (_Discipuli_
applaud.)

_Mag._ Nunc Mrcus nbs d su crissim ambitine loqutur. In rstra
scende, Mrce!

_M. Cic._ Quoad longissim potest mns mea respicere et ultimam memoriam
recordr, haec mea ambiti fuit, ut m ad scrbend studium cnferam,
prmum Rmae, deinde in alis urbibus.

Ambiti mea autem est omnibus antecellere ingen me glri, ut haec
rti et facults, quantacumque in m sit, numquam amcrum perculs
dsit. Nnne est haec ambiti maximum incitmentum labrum?

Deinde, haec est mea ambiti, ut cnsul sim. D me amre glriae vbs
cnfitbor. Vol pots reperre qu ad glriam me cnsults
celebrandam omne ingenium cnferant. Nihil m mtum poterit dlectre,
nihil tacitum. Quid enim, nnne dsderant omns glriam et fmam? Quam
mults scrptrs rrum suram mgnus ille Alexander scum habuisse
dcitur! Itaque, ea verba quae pr me cnsutdine breviter
simpliciterque dx, arbitr, cnfd probta esse omnibus. (_Discipuli_
applaud.)

_Mag._ Ut vidtis, arbitr clrissim, puer nxis anims vestrum
dcrtum exspectant. Quae cum ita sint, pet  vbs, ut testimnium
laudis dtis.

_A. Archias._ Ambs puers, magister, maxim laudamus, sed nus slus
praemium habre potest. Ns nn dcernere possumus. Itaque dcrvimus ut
h puer amb inter s sortiantur uter praemium obtineat. Serv, urnam
prferte! Nmina in urnam iaciam. Qu habet nmen quod prmum dcam, is
vctor erit. (Takes from the urn a small chip and reads the name _Marcus
Tullius Cicero_.) T, Mrce Cicer, victrem esse prnnti. Sc fta
dcrvrunt. Serv, cornam ferte! (Places a wreath of leaves on the
head of Marcus. The _discipuli_ again applaud.)

_M. Cic._ (going up to Csar). Caesar, nl anim frang. Nn dubium est
qun t melirem rtinem habuers.

_G. Caes._ (coolly). Ds aliter vsum est.

_Mag._ Vs amb, G et Mrce, honr huic scholae estis. Utinam cter
vs imitentur. Aliud certmen hius mod mox habbimus. Loqumur d--
(Aknock is heard. Enter Gaius Licinius Crassus.)

_G. Cras._ M pater!

_P. Cras._ M fl! (They embrace.)

_G. Cras._ Mter mea mihi dxit t arbitrum in hc certmine hodi esse.
T ditius exspectre nn potu. Iam di t vidre cupi et ego quoque
cupi hc certmen audre. Estne cnfectum?

_P. Cras._ Cnfectum est. Utinam h puer t recitre audiant! T es
docre posss qumodo discipul Rhodi in schol recitent.

_M. Cic._  arbiter, nbs grtissimum sit, s tuum flium audre
possmus.

_Discipuli_ (eagerly).  Crasse, recit, recit!

_G. Cras._ S vbs id placet, recitb, meum tamen carmen longum est.
ius titulus est "Pome of a Possum." (Recites with gesticulation.)

    The nox was lit by lx of lna,
    And 'twas a nox most opportna
    To catch a possum or a coona;
    For nix was scattered o'er this mundus,
    A shallow nix, et nn profundus.
    On sc a nox, with canis nus,
    Two boys went out to hunt for coonus.
        nus canis, duo puer,
        Numquam braver, numquam truer,
        Quam hoc trio quisquam fuit,
        If there was, I never knew it.
    The corpus of this bonus canis
    Was full as long as oct span is,
    But brevior legs had canis never
    Quam had hc bonus dog et clever.
    Some used to say, in stultum iocum,
    Quod a field was too small locum
    For sc a dog to make a turnus
    Circum self from stem to sternus.
    This bonus dog had one bad habit,
    Ambat much to chase a rabbit;
    Ambat pls to catch a rattus,
    Ambat bene tree a cattus.
      But on this nixy moonlight night
    This old canis did just right,
    Numquam chased a starving rattus,
    Numquam treed a wretched cattus,
    But cucurrit on, intentus
    On the track and on the scentus,
    Till he treed a possum strongum
    In a hollow trunkum longum.
    Loud he barked in horrid bellum,
    Seemed on terr vnit hellum.
    Quickly ran uterque puer
    Mors of possum to secure.
    Cum venrunt, one began
    To chop away like quisque man;
    Soon the ax went through the trunkum,
    Soon he hit it all kerchunkum;
    Combat deepens; on, ye braves!
    Canis, puer, et staves;
    As his powers nn longius tarry,
    Possum potest nn pgnre;
    On the nix his corpus lieth,
    Ad the Styx his spirit flieth,
    Joyful puer, canis bonus
    Think him dead as any stonus.
    Now they seek their pater's dom,
    Feeling proud as any hom,
    Knowing, cert, they will blossom
    Into heroes, when with possum
    They arrive, narrbunt story,
    Plnus blood et plnior glory.
    Pompey, David, Samson, Caesar,
    Cyrus, Black Hawk, Shalmaneser!
    Tell me where est now the glria,
    Where the honors of vctria?

      Cum ad domum nrrant story,
    Plnus sanguine, tragic, gory,
    Pater praiseth, likewise mter,
    Wonders greatly younger frter.
    Possum leave they on the mundus,
    Go themselves to sleep profundus,
    Somniant possums slain in battle
    Strong as ursae, large as cattle.

      When nox gives way to lx of morning,
    Albam terram much adorning,
    Up they jump to see the varmen
    Of which this here is the carmen.
    Possum, lo, est resurrctum!
    Ecce puerum diectum!
    Nn relinquit track behind him,
    Et the puer never find him;
    Cruel possum, bstia vilest,
    How t puers beguilest;
    Puer think nn pls of Csar,
    Go ad Orcum, Shalmaneser,
    Take your laurels, cum the honor,
    Since istud possum is a goner![5]

    [Footnote 5: Anonymous.]

  (_Discipuli_ applaud.)

_Mag._ Omns qu Gi Crass grtis agere velint, surgite! (All stand.)
Nunc, puer, domum redte.

_Discipuli_ (departing).

      Omne bene,
      Sine poen
    Tempus est ldend;
      Vnit hra
      Absque mor
    Librs dpnend.

Val, magister. Val, magister.




COSTUMES


The _magister_, _iudices_, and _discipuli_ should all wear white togas
with a purple[6] border. Awhite gauze shirt with short sleeves may be
used as a tunic, while white duck trousers and tennis slippers serve to
complete the costume.

[Illustration]

The togas can be made of white muslin according to the measurements and
cut given by Professor Johnston,[7] which he has kindly permitted me to
use. "Those who attempt the reconstruction of the toga wholly or chiefly
from works of art find it impossible to reproduce on the living form the
drapery seen on the statues, with a toga of one piece of goods or of a
semicircular pattern. An experimental form is shown in the figure, and
resembles that of a lamp shade cut in two and stretched out to its full
extent. The dotted line _GC_ is the straight edge of the goods; the
heavy lines show the shape of the toga after it had been cut out, and
had had sewed upon it the ellipse-like piece marked _FRAcba_. The
dotted line _GE_ is of a length equivalent to the height of a man
at the shoulder, and the other measurements are to be calculated
proportionately. When the toga is placed on the figure, the point _E_
must be on the left shoulder, with the point _G_ touching the ground in
front. The point _F_ comes at the back of the neck, and as the larger
part of the garment is allowed to fall behind the figure the points _L_
and _M_ will fall on the calves of the legs behind, the point _a_ under
the right elbow, and the point _b_ on the stomach. The material is
carried behind the back and under the right arm and then thrown over the
left shoulder again. The point _c_ will fall on _E_, and the portion
_OPCa_ will hang down the back to the ground. The part _FRA_ is then
pulled over the right shoulder to cover the right side of the chest and
form the _sinus_, and the part running from the left shoulder to the
ground in front is pulled up out of the way of the feet, worked under
the diagonal folds, and allowed to fall out a little to the front."

The _servi_ and _paedagogus_ should wear tunics of some coarse,
dark-colored material.

In small schools, where there is not a sufficiently large number of boys
in the Latin classes for _discipuli_, the parts may be taken by girls.
Their hair should fall nearly to their shoulders, as in the case of the
Roman boy. They may wear unstarched white skirts under the toga.

The _tabellae_ may be made of little book-shaped slates with wooden
borders (paint them light-colored), and the rolls of paper.

    [Footnote 6: That is, either "the color of clotted blood" (which
    was the Tyrian purple, the purple above all others) or any color
    from this to violet; "purple" meant the dye from any sort of
    univalve mollusk that gave a dye. There is reason to believe that
    genuine Turkey red, though not a mollusk dye, was commercially
    called a purple.]

    [Footnote 7: Johnston, "Private Life of the Romans," Scott,
    Foresman & Co., 1903.]




A ROMAN WEDDING

63 B.C.




  TRES SCAENAE

  Scaena prma:   Spnslia
  Scaena secunda: Nptiae
  Scaena tertia:  Dducti


  DRMATIS PERSN

  Spnsa:         Tullia
  Spnsus:        Gius Ps
  Spnsae pater:  Mrcus Tullius Cicer
  Spnsae mter:  Terentia
  Spns pater:   Lcius Pso Frg
  Spns mter
  Spnsae frter: Mrcus Tullius Cicer, adulscns
  Flmen Dilis
  Pontifex Maximus
  Iris cnsultus
  Quntus Hortnsius
  Prnuba
  Sgntrs
  Tbcins
  Lctrs

  Mrcipor   }
  Philotmus } Serv
  Tr       }
  Anna       }




A ROMAN WEDDING


SCAENA PRMA

SPNSLIA

  Let the curtain be raised, showing a room furnished as nearly as
  possible like the atrium of a Roman house. Abench, covered with
  tapestry, on each side of the stage facilitates the seating of the
  guests. Cicero is heard practicing an oration behind the scenes.

_M. Cic._  rem pblicam miserbilem! Qu r, Quirts, dubittis? Ԡd
immortls! Ubinam gentium sumus? In qu urbe vvimus? Quam rem pblicam
habmus? Vvis, et vvis nn ad dpnendam sed ad cnfrmandam tuam
audciam.

  (Enter Terentia. A slave, Anna, follows bringing a boy's toga,
  which she begins to sew, under Terentia's direction. Another slave,
  Marcipor, also follows.)

Nihil agis, nihil mlris, nihil cgits quod nn ego nn modo audiam,
sed videam. Quae cum ita sint, Catilna, ex urbe gredere; patent
portae, proficscere. Mgn m met lberbis dum modo inter m atque t
mrus intersit. Quid est enim, Catilna, quod t iam in hc urbe
dlectre possit? Quamquam quid loquor? T ut lla rs frangat?
(Acrash, similar to that of falling china, is heard.)

_Terentia._ Quid est? Vid, Mrcipor!

  (As Marcipor is about to leave, Philotimus enters at the right,
  bringing in his hands the pieces of a broken vase.)

_Phil._  domina, ecce, dominus, dum rtinem medittur, vs quod ipse
tibi  Graeci attulit, mans gest dmltus est.

_Terentia_ (groaning). Lege, Philotme, omnia fragmenta. (Exit Phil.)
Mihi, Mrcipor, fer cistam ex alabastrt factam. (Exit Mar.)
(Toherself.) Tam molestum est rtr npsisse. (Covers her face with
her hands, as if weeping.)

_M. Cic._ (proceeding with his practicing). Atque hc quoque  m n
togt factum est. Mrce Tull, quid agis? Interfectum esse Lcium
Catilnam iam prdem oportbat. Quid enim mal aut sceleris fing aut
cgitr potest quod ille nn concperit? Ԡrem pblicam fortntam,
praeclram laudem me cnsults, s ex vt ille exierit! Vix feram
sermns hominum, s id fcerit. (Enter Marcipor with a small box.)

_Mar._ Hc est, domina, cista tua.

_Terentia_ (takes from her bosom a key and opens the box, taking out a
package of letters, one of which she reads). "Sine t, mea Terentia
crissima, sum miserrimus. Utinam dom tcum semper manrem. Quod cum
nn possit, ad m cotdi litters scrbe. Cr ut vales et ita tibi
persud, mihi t crius nihil esse nec umquam fuisse. Val, mea
Terentia, quam ego vidre videor itaque dbilitor lacrims. Cr, cr
t, mea Terentia. Etiam atque etiam val."

Quondam litters amantissims scrpsit; nunc epistolia frgscunt.
Quondam vs mihi dedit, nunc vs mihi dmltur; quondam fuit martus,
nunc est rtor. Tam molestum est mtrem familis esse.

  (Enter Cicero, from the right, followed by his slave Tiro, carrying
  a number of scrolls which he places upon a table.)

_M. Cic._ Quid est, Terentia? Quidnam lacrims? Mihi dc.

_Terentia._ Rs nllast! Modo putbam quantum mttus ab ill Cicerne
qu m in mtrimnium dxerit, sit Cicer quem hodi vide. Tum
Terentiae aliqua rati habbtur. Nunc vacat Cicer librs modo et
rtinibus et Catilnae. Nescs quantum m hius negt taedeat! Nllum
tempus habs ad cnsultandum mcum d studis nostr fliol. Magister
d e haec hodi rettulit. (Hands Cicero a scroll.) M pudet fl.

_M. Cic._ (reading to himself the report). Dc me fli, Mrcipor,
ut ad m veniat. (Exit Marcipor, who returns bringing young Marcus.)

_M. Cic. a._ Quid est, pater?

_M. Cic._ Tua mter, m fl, animum nxium ob hanc renntitinem d t
habet. M quoque, cnsulem Rmnum, hius renntitinis quibusdam
partibus pudet. (Reads aloud.) "Bis absns." Cr, m fl, schol
fuist?

_M. Cic. a._ Id nn memori tene.

_Terentia._ Sunt multa quae memori nn tens, s ego d hc
renntitine idicre possum.

_M. Cic._ (continues reading). "Tardus decins!" Decins! Id est
incrdibile! Flius cnsulis Rmn tardus decins! Mter tua id nn
pat dbuit.

_Terentia_ (angrily). Mter tua id nn pat dbuit! Imm vr pater tuus
id nn pat debuit.

_M. Cic._ "Ars legend _A_." Id quidem satis est. "Ars scrbend _D_."
_D_! Id quidem minim satis est. Ngtor dfuit offici! "Flius tuus
dcit scrptram tempus longius cnsmere. Dbet s in scrbend multum
exercre, s scrbere mod tolerbil discere vult. Arithmtica _A_.
Huic studi operam dat. Dclmti _A_. Omnibus facile hc studi
antecellit." Bene, m fl. Ea pars hius renntitinis mihi mgnopere
placet. rtor clrissimus lim eris.

_Terentia._ nus rtor apud ns satis est.

_M. Cic. a._ rtor er lim nihil minus. Facile est rtrem fier.
Dclmti est facillima. Hodi in schol hanc dclmtinem didic:

    Omnia tempus edx dpscitur, omnia carpit,
      Omnia sde movet, nl sinit esse di.
    Flmina dficiunt, profugum mare ltora siccant,
      Subsdunt monts et iuga celsa ruunt.
    Quid tam parva loquor? mls pulcherrima cael
      Ardbit flamms tta repente sus.
    Omnia mors poscit. Lx est, nn poena, perre:
      Hc aliqu mundus tempore nllus erit.

_Terentia._ Tlis dclmti est facilis. Aud quid d gemetri tu
reltum sit. Gemetria magis quam declmti ostendit utrum t mentem
exerces.

_M. Cic._ (continues reading). "Gemetria _D_." Magister haec scripsit:
"Flius tuus dcit gemetriam rtribus intilem esse. E dligenter
dom labrandum est." ԠMrce, hc est incrdibile! Num dxist t
gemetriam rtribus intilem esse?

_M. Cic. a._ , studium gemetriae mihi odisum ingrtumque est! Omns
puers istus taedet. Tant nn est!

_M. Cic._ Etiam s studium t nn ams, gemetriam discere dbs. Tibi
centum sstertis dab s summam notam in gemetri proxim mnse
adeptus eris.

_M. Cic. a._ (grasping his father's hand). Am t, pater, convenit!
Eam adipscar!

_Terentia_ (to Anna). Estne toga parta?

_Anna._ Parta est, domina.

_Terentia._ Hc ven, Mrce!

_M. Cic. a._  mter, tempus perdere nl. Ml legere.

_Terentia._ Quid dcis? Nn vs? Nnne vs novam togam habre?

_M. Cic. a._ Nl. Nov m nl opus est. Tam fessus sum! (Picks up a
scroll and is about to take a seat in the corner.)

_M. Cic._ Ad mtrem tuam, Mrce Cicer, sine mor, accde!

  (Marcus is about to obey when a knock is heard at the door.
  Lucius Piso Frugi and Quintus Hortensius enter at the left.)

_M. Cic._ (greeting Q. Hortensius).  amc, salvte! ut valtis?

_Terentia_ (greeting L. Piso). D duint vbs quaecumque opttis.
Cicern modo dcbam ns di vs nn vidre, praesertim t, Ps.
Mrcipor, ubi est Tullia? E dc ut hc veniat.

_L. Piso._ Nl Tulliam vocre. Nunc cum parentibus Tulliae agere vol,
nn cum Tulli ips.

_Terentia._ Nn vs nostram Tulliam vidre! Quid, scre vol?

_L. Piso._ Cum e hc tempore agere nn cupi. Id propter quod in
vestram domum hodi vn tu, et Cicernis rfert. Velim vbscum agere
pr me fli, Gi Psne, qu fliam tuam in mtrimnium dcere vult.

_M. Cic._ Meam fliam in mtrimnium dcere! Mea Tulliola nndum satis
mtra est ut nbat. Mea flia mihi crior vt ips est. Eam mittere
... id nn ferre possum. Ea lx nostra est. Me Tulliol nihil umquam
ambilius, nec long vt ac prope immortlitte dgnius vd. Nndum
anns quattuordecim implvit et iam ius prdentia est mrbilis. Ut
magistrs amat! Quam intellegenter legit! Nn possum verbs exprimere
quant vulnere anim percutiar s meam Tulliolam mittam. Utinam penitus
intellegers mes snss, quanta vs patern sit amris.

_L. Piso._ Tlia verba, Mrce Tull, vir Rmn nn propria sunt.
Necesse est omns nostrs flis in mtrimnium dmus. Nihil aliud
exspect.

_Terentia._ Nostra flia omnibus grtissima est. Semper enim lepida et
lberlis est. Iam di sci ns eam nn semper retinre posse.

_L. Piso._ Rct, rct! Meus flius bonus est; est rtor. Est quoque
satis dves. Rmae dus aeds habet; rre mgnificentissima vlla est
e. Cum ill flia tua flx erit. Id mihi persusum habe. Quae cum ita
sint, Mrce Tull, sine dte tuam fliam me fli posc.

_M. Cic._ Prohibeant d immortls condicinem ius mod. Cum mea flia
in mtrimnium danda sit, nminem cgnv qu ill dgnior sit quam tuus
flius gregius.

_L. Piso_ (shaking hands with Cicero).  Mrce, m amce, d t
respiciant! Nunc mihi eundum est ut flium et sgntrs arcessam et iam
hc revertar.

  (Exeunt L. Piso and Q. Hortensius.)

_Terentia._ Dc, Mrcipor, servs ut in culn vnum, frcts, placents
parent. (Exit Marcipor.) Mrce, fl, sorrem voc.

_M. Cic. a._  Tullia,  Tullia,
              Soror mea bella,
              Amtres tibi sunt
              Ps et Dolbella.

  (Enter Tullia at the right.)

              Amatne Ps t,
              Etiam Dolbella?
              Tullia,  Tullia,
              Soror mea bella,
              Psnem tuum martum fac;
              Nn grtus Dolbella.

_Tullia._  Mrce, tu m taedet. Quid est, mter?

_Terentia._ Tullia, nnne est Gius Ps tibi grtissimus?

_Tullia._ , mihi satis placet. Cr m rogs, mter?

_Terentia._ Rog, mea flia, quod Ps t in mtrimnium dcere vult.
Tibi placetne hc?

_Tullia._ Mihi placet s--

_Terentia._ S--quid, mea flia?

_Tullia._  mter, nl nbere. Sum flx tcum et patre et Mrc. Vx
tantum quattuordecim anns. Puella ditius esse vol, nn mter
familis.

_Terentia._ Ps dves est. Pater tuus nn mgns dvitis nunc habet.
Meum argentum quoque cnsmptum est. Etiam haec domus nostra nn ditius
erit. Quid facimus s t nn bene nbs?

_Tullia._ Sci patrem meum nn mgns possessins habre; quid vr,
mter? Servlia, Lcull spnsa, qu modo rediit spolis Orientis
onustus, semper suam fortnam queritur. Misera Lcullum dit ac
dtesttur. Hestern di mes auribus Servliam haec verba dcere
audv: "M miseram! nflcissimam vtam! Fminam maestam! quid faciam?
Mihi dlctus est martus disus. Nm rogvit qu vir mihi maxim
placeat. Coniugem novum der, id certum est. Prae lacrims nn iam
loqu possum." Ԡmter! ego sum aequ trstis ac Servlia. Nl Gi
Psn nbere. Nll homin, neque Rmn neque peregrn, quem vderim,
nbere vol.

_Terentia._ Tullia, mea flia, mtris et nostrae doms miserre! Hodi
pater  m argentum postulbat quod e dare nn poteram. Ps dtissimus
est et nbs auxili esse potest. Parentum turum caus t r n hunc
gregium adulscentem aspernris.

_Tullia._  Servliam et Tulliam, ambs misers! Quid dcis t, m
pater? Vs t quoque m in mtrimnium dare?

_M. Cic._  mea Tulliola, m nl rogre. Nescs quantum ego t amem.
Sine t vvere nn poter. Id mihi persusum habe. Put tamen, s pcem
apud ns habre velmus, t mtris iussa sequ necesse esse.

_Tullia._ Vol, m pater, t pcem habre. Tua vta tam perturbta fuit.
Nbam, sed  m miseram!

  (A knock is heard. Enter from the left L. Piso, Gaius Piso, and the
  _signatores_. They are greeted by Cicero and Terentia and seated
  by slaves.)

_Terentia_ (as she receives them). Multum salvte,  amc. Tulliae vix
persudre poteram, tamen nn iam invta est.

_L. Piso._ Bene, bene, hc est mihi dis grtissimus. Parta sunt omnia?

_Terentia._ Omnia parta sunt, sed iris cnsultus nndum vnit.

_L. Piso._ Ille quidem ad tempus adesse pollicitus est.

_Terentia._ Id spr. Tbcins, Mrcipor, hc arcesse. (Enter Q.
Hortensius and his wife, together with the pronuba and the _iuris
consultus_.) Salvte, me amc. Adsdite s placet.

_Iuris con._ S mihi veniam dabitis, nn di morr velim. nstns
negtium m in for flgitat. Mihi mtrandum est. (Goes to a table with
M. Cicero and busies himself with the _tabulae nuptiales_.)

_L. Piso._ Mtrmus! G et Tullia, ad m vente! (To Cicero.)
Spondsne Tulliam, tuam fliam, me fli uxrem dar?

_M. Cic._ D bene vertant! Sponde.

_L. Piso._ D bene vertant!

_G. Piso_ (placing a ring on the fourth finger of Tullia's left hand).
Hunc nulum qu meum longum amrem testtur aceipe. Manum, Tullia, tibi
d, et vim bracchirum et celerittem pedum et glriam merum patrum.
T am, pulchra puella. T nam semper amb. Mihi es t crior omnibus
quae in terr caelque sunt. Flcs semper smus!

_Iuris con._ Tabulae nptils sunt partae et ecce condicins.
(Reads.) "Hc di, prdi ds Aprls, ann sescentsim nngsim
prm post Rmam conditam, M. Tulli Cicerne Gi Antni cnsulibus,
ego M. Tullius Cicer meam fliam Tulliam Gi Calpurni Lc fli
Psn sponde. Eam cum dte dare sponde. Ea ds erit qundecim mlia
sstertium." (Turning to Gaius.) G Ps, spondsne t Tulliam semper
amtrum cultrumque?

_Gr. Piso._ Id sponde.

_Iuris con._ Spondsne t, Tullia, t Gi Psn semper obsecutram
esse?

_Tullia._ Id sponde.

_Iuris con._ (stamping the _tabulae_ with a seal). Nuc subscrbite!
T prmus, Cicer, deinde Terentia et Tullia et Gius.

  (The _tibicines_ play softly and the _servi_ pass wine, dried fruit,
  and small cakes. Tullia, taking her glass of wine, steps forward
  and pours a little out as an offering to the gods. After the
  witnesses have signed in turn, the following words of
  congratulation are spoken.)

_Q. Hor._ Bet vvtis, Ps et Tullia! Omns spns et spnsae saltem
propnmus! (All drink to the health of the betrothed.)

_M. Cic. a._ Sint d semper volents propitique ipss domu
familiaeque. Sit vbs fortna bengna!

_M. Cic._ Tibi grtulor, Ps. T pulcherrimam et optimam puellam ttus
Rmae adeptuses.

_Pronuba._  fortnte adulscns qu tlem puellam invners!

_Iuris con._ Sgnvruntne omns? T, Qunte Hortns, nndum
subscrpsist.

_Q. Hor._ Id statim faciam. (Signs.)

_Pronuba._ Nunc omns cantmus!

  (All join in singing, accompanied by the _tibicines_.)

  [Music:
  Hespere, qui caelo fertur crudelior ignis?
  Qui natam possis complexu avellere matris,
  Complexu matris retinentem avellere natam
  Et iuveni ardenti castam donare puellam.
  Quid faciunt hostes capta crudelius urbe?
  Hymen O Hymene, Hymen ades O Hymene.]


SECUNDA SCAENA

NPTIAE

  The house is adorned with wool, flowers, tapestry, and boughs.

  The Pontifex Maximus (wearing a white fillet) and the Flamen Dialis
  enter from opposite sides, each preceded by a lictor with fasces,
  who remains standing at the side of the stage, while the priests
  pass on to the altar. The Flamen burns incense. Aslave brings in a
  pigeon on a silver tray and hands it to the Flamen, while another
  hands to the Pontifex from a basket a plate of meal and one with
  crackers.

  The priests, taking respectively the bird and the meal, hold them
  high above their heads and look up devoutly, after which the bridal
  party enters, from the left, in the following order:

  The bride, preceded by the pronuba, comes first. Both take their
  places, standing at the right of the altar; next the groom, preceded
  by the boys, takes his stand near the bride, alittle to the left;
  the guests follow and are seated.

  Cicero hands wine to the priests, with which they sprinkle the
  sacrifices.

  As the Flamen again looks up and raises his hands above his head,
  all kneel except the priests and lictors, while he pronounces the
  following solemn words:

Auspicia secunda sunt. Mgna grtia ds immortlibus habenda est.
Auspicia secunda sunt.

  After all have risen, the pronuba, placing her hands upon the
  shoulder of the bride and groom, conducts them to the front of the
  altar. There she joins their hands and they walk around the altar
  twice, hand in hand, stopping in front when the ceremony proper
  begins.

  Again the Flamen says:

Auspicia secunda sunt.

  The Pontifex hands the groom a cracker, of which he partakes,
  passing it on to the bride. The pronuba puts back the veil, and
  after the bride has eaten the cracker she says to the groom:

Ubi t Gius, ego Gia.

  Both are then conducted by the pronuba to two chairs, placed side by
  side, at the right of the altar, covered with the skin of a sheep.
  They face the altar and the pronuba covers their heads with a large
  veil. (Place the same veil over both.)

_Pontifex Maximus_ (making an offering of meal to Jupiter).

    Iuppiter omnipotns dvum pater atque hominum rx,
    Hs spnss bene respicis, favesque per anns.
    Iuppiter omnipotns, precibus s flecteris lls
    Aspice es, hc tantum, et s piette merentur,
    D cursum vtae icundum et commoda sparge
    Multa man pln; vrs validsque per menss
    H habeant, puers pulchrs fortsque nepts.
    Rbus icunds quibus adss Iuppiter semper.

_Flamen Dialis._

    In quae incdis dvum rgna Iovisque
    Coniunx et soror, hs spnss serv atque ture.
    Sint et flcs, forts, piette suprm;
    Mgn cum virtte incdant omnibus anns,
    Semper fortnt, semper et usque bet.

  (The pronuba now uncovers the heads of the wedded pair and they
  receive congratulations.)

_L. Piso._ Bet vvtis, G et Tullia!

_Terentia._ Vbs sint d semper faust!

_M. Cic. a._ Vbs ambbus grtulor. Sed nlla rs levis est
mtrimnium. Quid, Tullia?

_Tullia._ Rct dcis, frter, mtrimnium nn in lev habendum est.

_M. Cic._ Sint omns dis flcs aequ ac hc dis.

_Pronuba._ Spr, me amc, omns dis vbs laetissims futrs esse.

  (The curtain falls. The priests and lictors retire, all the rest,
  except Terentia and Tullia, keeping the same position for the next
  scene.)


SCAENA TERTIA

DDUCTI

  The guests are sitting about the room. The bride is sitting on her
  mother's lap. Her wedding ornaments have been taken off and she is
  closely veiled. The groom takes her as if by force from her mother's
  arms.

_Tullia._  mter, mter, nl  t et patre me discdere. , m
miseram!

_Terentia._ , flia, ! Saepe tus parents et frtrem vsere poteris.
Necesse est nunc cum mart es.

_G. Piso._ Mihi, Tullia, crior vt es. T nn pigbit coniugem meam
fier. Id polliceor. Mcum ven, Tullia crissima!

_Tullia._ Sc est. Prius mustceum edendum est. (She cuts the wedding
cake and all partake.)

_L. Pisonis uxor._ Hc mustceum optimum est. Hc fcistne t, Tullia?

_Tullia._ Nihil temporis habbam qu mustceum facerem. Multa mihi n
tempore agenda erant.

_Terentia._ Tullia mustceum facere potest s spatium datur.

_M. Cic. a._ (taking another piece of cake). Tullia est dliciae
puellae. S num modo mustceum habmus, ad novam domum Tulliae
proficscmur.

(Others cry out) Emus!

  The curtain falls. A frame to represent the door of a Roman house is
  placed to the left of the stage; asmall altar stands at the right:
  acircular piece of wood with holes bored in it as a receptacle for
  the torches (common wax candles) is placed on top of the altar used
  by the priests. The procession to the groom's house advances from
  the left in the following order:

  The flute-players first, followed by a lad carrying a torch and
  vase; next the bride, supported on either side by a boy; the groom,
  throwing nuts to those in the street, walks at the side; aboy
  follows, carrying the bride's spindle; the others follow, two by
  two, all carrying torches and singing:

    Hespere, qu cael fertur crdlior gnis?
    Qu ntam posss complex vellere mtris,
    Complex mtris retinentem vellere ntam
    Et iuven rdent castam dnre puellam.
    Quid faciunt hosts capt crdlius urbe?
    Hmn  Hymenaee, Hmn ades  Hymenaee.

  When the groom's house is reached, the bride winds the door posts
  with woolen bands and anoints them with oil to signify health and
  plenty. She is then lifted over the threshold by two boys to prevent
  possible stumbling. The groom, Cicero, Terentia, L. Piso and his
  wife, enter the house and place their torches on the altar; the
  others remain standing outside. All continue singing, accompanied by
  the flute-players, until after the groom hands to the bride a dish,
  on which incense is burning, and a bowl of water, which both touch
  in token of mutual purity, and Tullia again repeats the words:

Ubi t Gius, ego Gia.

_G. Piso_ (presenting to her the keys, which she fastens in her girdle).
Sit flx nostra vta! Clvs meae doms, mea uxor, accipe!

  Tullia kindles the fire on the altar with her torch, and then throws
  it to a girl outside. The girl who catches the torch exclaims:

, m flicissimam! proxima Tulliae nbam.

  (Tullia kneels at the altar and offers prayer to Juno.)

    In, es auctor mnerum,
    In, mter omnium,
    Nbs d nunc gaudium.
    In, aditrx es hominum,
    In, summa caelitum,
    Nbis ss auxilium.




  [Illustration: ROMAN MARRIAGE]

COSTUMES AND SUGGESTIONS


The bride wears a white dress trimmed with purple fringe, a girdle of
crimson wool, and a long yellow veil. She has on many bright-colored
ribbons, many bracelets and rings, and high yellow shoes with buckles.
Her hair is arranged in six locks parted by the point of a spear and
held in place by _vittae_ or bands.

The Pontifex should have a band of purple three inches wide around the
bottom of his toga.

The boys should wear straight robes reaching to the knee and gathered at
the shoulders. The garb of the statue "Diana of the Hind" is a good
illustration.

The slaves wear bright-colored tunics reaching to the knees.

Valuable suggestions may be found in Johnston's "Private Life of the
Romans," "Harper's Dictionary of Classical Antiquities," and _Harper's
Magazine_, Vol.46.

The individual parts should be thoroughly learned and practiced before a
full rehearsal is attempted.

Especial emphasis should be placed upon the necessity of reciting the
parts slowly and distinctly.

The signing of the _tabulae nuptiales_ was a part of the _nuptiae_, but
it has been introduced during the _sponsalia_ to give better balance to
the play. Wherever permissible, very simple Latin has been used in order
to render the task of memorizing as easy as possible.


SCENE I

SPONSALIA--BETROTHAL

Cicero's house. Terentia complains that Cicero neglects her and that he
devotes too much time to the prosecution of Catiline and to study. The
school report (renuntiatio) of her son, the young Cicero, also causes
her anxiety. Marcus junior adds to her anxiety by affirming that he
wishes to become an orator like his father. He promises, however, that
he will study his geometry more diligently and thereby gain the reward
offered by Cicero. Lucius Piso calls at Cicero's home to ask the hand of
Tullia for his son Gaius Piso. Terentia is pleased with the prospect of
marrying her daughter so well. Tullia herself and Cicero prefer to wait
until Tullia is older. Tullia says she can sympathize with Servilia and
others who have no girlhood on account of marrying so young; but finally
she yields to her mother's wish and consents to become betrothed to
Gaius. The witnesses arrive and the betrothal (sponsalia) takes place.
The marriage contract (tabulae nuptiales) is signed, showing the amount
of dowry. Refreshments are partaken of, following a libation in honor of
the gods. Congratulations are offered and the wedding hymn is sung.


SCENE II

NUPTIAE--WEDDING CEREMONY

The auspices are taken and pronounced favorable. The groom and bride
assume the names of Gaius and Gaia, respectively. These particular names
were chosen, according to some, out of respect to the noted spinner
Gaius and his royal wife, who were held by the Romans as a pattern of
conjugal fidelity and skilled industry; according to others, because of
the derivation from _gaudere_. Tullia with the words "Ubi tu Gaius, ego
Gaia" (where you are Gaius, Iam Gaia) signifies her willingness to
enter the gens of her husband. The eating of the cake presented by the
Pontifex (confarreatio) is the most important part of the ceremony,
suggesting the sacramental view of marriage. The skin upon which the
bride and groom are seated is supposed to be that of the sheep
sacrificed before the ceremony begins. Prayer is offered to Jupiter by
the Pontifex, and to Juno by the Flamen Dialis, after which
congratulations are offered.


SCENE III

DEDUCTIO--PROCESSION TO THE GROOM'S HOUSE

The bride is taken, to all appearances, by force from her mother's
embrace,--a survival of the marriage by capture, or, as the Romans
themselves put it, areminiscence of the Sabine marriage. The
_mustaceum_, or wedding cake, is eaten, and the procession begins,
all singing the wedding hymn. The groom throws nuts to the boys in the
street as a sign that he will now put away childish things. Arriving at
the groom's house, the bride anoints the doorposts with oil to signify
health and plenty, and then offers a prayer for future happiness.


       *       *       *       *       *
           *       *       *       *
       *       *       *       *       *


Errata

Variation between "" and "ae" is unchanged, including the spelling of
"Drmatis Persn" or "-ae". Note that the name is consistently "Csar"
in English, "Caesar" in Latin.

  ... the writer's aim will be / accomplished
    [_lack of closing punctuation may be intentional_]

  _Gn. Pom._ Ianns, Ianns, tbcine ntus  [Ianns, Ioanns]
  Portae nn gehennae  [non]
  When nox gives way to lx of morning  [lux]

  Lege, Philotme, omnia fragmenta.  [frgmenta]
  T nn pigbit coniugem  [non]






End of the Project Gutenberg EBook of Two Latin Plays for High-School
Students, by Susan Paxson

*** END OF THIS PROJECT GUTENBERG EBOOK TWO LATIN PLAYS ***

***** This file should be named 31894-8.txt or 31894-8.zip *****
This and all associated files of various formats will be found in:
        https://www.gutenberg.org/3/1/8/9/31894/

Produced by Louise Hope, David Starner, Chuck Greif and
the Online Distributed Proofreading Team at
https://www.pgdp.net


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

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

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit https://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations.  To donate, please visit: https://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.


Most people start at our Web site which has the main PG search facility:

     https://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
