schlicher_plays.md

title	subtitle	author	date	lang	edited	license	original_scan	notes
Latin Plays	for student performances and reading	John J. Schlicher	1916	la	false	CC-BY-SA 4.0 http://creativecommons.org/licenses/by-sa/4.0/	http://www.archive.org/details/cu31924031214806

SACCUS MALORUM (The Sack of Apples)

PERSONAE

PUuErī I, II, and III, three Roman boys, brothers and cousins (Scenes I, II, III, IV)

PUErLLAE I, II, III, and IV, four Roman girls, their sisters (Scenes I, II, III, IV)

TrāNIō, an old man living outside of the city (Scenes II, IV)

ANICULA, an old woman, his wife (Scene II)

MāTER, mother and aunt of the boys and girls (Scenes III, IV)

PATER, father and uncle of the same (Scenes III, IV)

SCAPHA, an old woman, servant in the family (Scene III)

APPĀRITOR, an attendant at court (Scenes III, IV)

AGRICOLA, a farmer, neighbor of Tranio (Scenes III, IV)

IōDEX, a judge (Scene IV)

VĒNDITOR MāLōRUM, an apple-vender (Scene IV)

SILENT CHARACTERS, men and women, spectators at the trial (Scene IV)

PLACE: Rome

TimE: The first and second days of vacation

[2] SACCUS MALORUM

SCENEI

The court of a Roman house. Three Boys, brothers and cousins,

in vacation time. PUERI

Dīs agō grātiās quod iam in lūdum īre nōn oportet. Tandem facere possumus quidquid volumus.

PUER I1

Ita. Neque sub magistrō sedēre et discere necesse est

per tōtum diem. Certō sciō illum vehementer dolēre quod nōbīs pēnsa dare nōn possit.

PUER 111 Dīc quid agāmus. Id magis cūrō quam quid magister

putet dē lūdō. PUERI

Cūr nōn vēnātum eāmus? Avunculus mihi dīxit ubi leporēs invenīre possēmus.

PUER 11 Quasi tū leporem capere possīs. Celerius īre nōn potes

quam testūdō. PUER 1

Fac perīculum. Adfīrmō tibi mē celerius leporem sequī quam tū piscem capere posse.

(s3] SACCUS MALORUM

PUER III Piscātum eāmus. Magnōs piscēs capiāmus. Ego duās

līneās habeō novās. PUERI

Ego vēnārī mālim. Arcum habeō optimum et sagittās, quibus facile leporēs et aquilās interficiam.

PUER 11 Aquilās ? Mihi vidēris magnam rem factūrus esse, sī vīcīnī gallīnam interficiās.

PUERI Tū autem nē lapidem quidem conicere potes in agrum. Dolēs quod arcum nōn habēs.

PUER I1

Vel vēnāminī vel piscāte. Sī quid capiētis, quod sciō nihil futūrum esse, ego libenter tōtam praedam portābō domum. Nōn timeō nē onus mihi sit grave.

PUER III Omnia sunt parāta. Ego līneās meās adferam, tū CPointing to Puer I] arcum tuum et sagittās. Amīcus noster CPointing with his thumb at Puer II] praedam reportābit. Iam eāmus.

As they are about to go, four Girls, their sisters, come on the stage

PUELLAI Heus, puerī, quid agitis? Cavēte nē magister vōs videat. Sine dubiō vōs aliquid facere cōnstituistis quod

facere nōn dēbētis. PUER I1

Hem, quid vōs vultis? Puellās nōn vocāvimus.

La4] SCENE I

PUELLA II Vērum est. Hoc scīmus. Nōs nōn vocāvistis. Tamen hīc sumus. Praetereā in animō est quaerere quid vōs agātis.

PUELLA īiī Nōlīte tam ferōcēs esse. Nōs quoque aliquid facere possumus, sī volumus. [The boys laugh. PUER III

Aliquid facere ! [7he boys laugh] Unam rem vōs bene facere potestis — domī manēre. Id vōbīs est optimum.

PUELLA XIV [Turning up her nose] Putātis sine dubiō vōs esse homi- nēs sapientissimōs. [(The boys laugh. PUER 1

[Zurning to go and beckoning] Venite, puerī. Tempus nōn est morandī et loquendī cum puellīs. Eāmus.

PUER III

[As the boys wave their hands to the girls] Valēte, puellu-

lae! Este semper bonae puellulae! [The boys g0. PUELLA IV

[Zndignantly] Putant vērō sē esse magnōs virōs et facere posse quod velint.

a

PUELLAI Nōbīs autem domī manendum est. Nōnne hoc est dūrum? Puerīs licet piscātum īre et vēnātum. Puellae

nihil facere possunt. PUELLA II

Quid sī nōs quoque aliquid agāmus?

C5] SACCUS MALORUM

CETERAE [Excitedly] Id faciāmus. Id faciāmus.

PUELLA III Quid autem? Dfcere facilius est quam facere. Prae- tereā, nōnne scītis mātrem nōs domī manēre iussisse?

PUELLA II Māter abest, neque intrā quattuor hōrās redībit. Ante id tempus nōs quoque redībimus.

PUELLA HII Quō tandem eāmus? Dīc nōbīs, quid in animō habeās.

PUELLA II Ego nōn dīcō quō aut quid. Sed aliquid facere cupīō. Sī semper domī manendum est, paene nihil interest utrum intrā lūdum sīmus an extrā lūdum.

PUELLAI Quid sī puerōs sequāmur et videāmus quid factūrī sint?

CETERAE (Clapping their hands] Probē! Optimē!

PUELLAIV

CAugging Puella I] Tē amō. Tū es multō sapientior

uam puerī. 4 P PUELLA III

Quōmodo eāmus? Nam hīs vestīmentīs per urbem et in agrōs īre nōn audēmus. PUELLAI Māter multa vestīmenta habet. Eīs nōs cēlāre possu- mus, ut nēmō nōs cognōscat.

o1 SCENEI

PUELLA III Quid autem māter dīcet? Nōnne īrāta erit?

PUELLA II Māter longum iter facit. Quattuor hōrās aberit. Ante reditum eius vestīmenta erunt in locō suō.

PCELLAIV Hīc habeō vestīmentum. [Picking up a shawl from a chair and mufling herself in it, speaks in a changed voice] Quis iam mē cognōscet ? Ego sum fēmina quīnquāgintā annōrum. (Walks about with a stoop like an old woman. The others laugh and clap their hands.

PUELLA I1 Agite, properāte, quaerāmus vestīmenta.

[Runs out and returns almost at once with an arm- ful of clothes in which they muffīe themselves.

PUELLAI1 [While Puella II is gone, in great glee] Iam puerīs osten- dēmus quid puellae facere possint. Nōnne mīrābuntur nōs mulierēs? [Meanwhile the girls have disguised themselves, and go

out excitedly, Puella IU still acting the old woman in an exaggerated manner.

071 SACCUS MALORUM

SCENE II

The highway outside of town. The entrance to a small hut is at one side of the stage. The Boys come in from the other side, two of them with fishing peles and the other, PUER I, with a bow and arrows. PUER III carries a small fish dangling from a string.

PUER I [Wearily] Ego sum dēfessus. Utinam domī essēmus.

Sum valdē dēfessus. PUER II

Ego autem aliquid ēsse cupiō. Fame iam cōnfectus sum.

PUERI Id nōs quoque cupimus.

PUER III Piscem habēmus. [Holding up the fisī] Hunc fortasse

ēsse possīmus. PUER I

Nōn est satis. Ego elephantum dēvorārem, sī ele-

phantum habērem. PUER II

Cūr nōn ūteris arcū tuō’?

PUER I Nōn eris tam facētus, sī sciēs quid tibi sit ūtile.

PUER III Ecce casam. [Pointing to the hut] Ibi fortasse est cibus. Adeāmus et videāmus. PUERI Hīc putō hominem habitāre. Sī cibum nōn dat, ipsum dēvorābiīmus.

[s] SCENE II

PUER II L70 Puer I] Tū adī et pultā iānuam.

PUER III Ego pultābō. Ego nōn timeō, etiam sī canem habet ingentem. [Goes to the door and knocks. As no one opens, he knocks again, louder] Heus, nēmōn hīc habitat?

TRANIO LComing out] Quis hīc pultat? Vīsne iānuam frangere? Putāsne mē aurēs nōn habēre?

PUER III Id nōn dubitō. Pultāvī modo ita ut audīre possēs.

TRANIO Quid vultis? PUER III

Habēsne cibum? Nam dēfessī sumus et fame cōnfectī.

TRANIO Habeō cibum, sī vōs pecūniam habētis.

PUER III [Reaching in his pocket] Hīc habeō sestertium, quem tibi

dabō. TRANIO

Sestertium ūnum? Nōn satis est.

(They fumēle about in their clothes and finally hand him each a piece 3f money. The old man turns over the coins, bites them, and examines them carefully.

PUER 1 Nē timuerīs. Bonum argentum est. Quid autem tū nōbīs datūrus es?

[o9] SACCUS MALORUM

TRANIO Manēte. Aliquid quaeram. [Goes back into the hut. The boys lean their poles

against it. PUER II

Spērō eum celeriter reditūrum esse. Numquam in tōtā vitā meā tantā fame cruciātus sum.

TRANIO Returning with a sack of apples, which has a name on it] Haec accipite — māla cum saccō. Sunt bona.

PUER I Sīve bona, sīve mala, sī māla sunt, ea bona putāmus. [Looks into the sack. Each boy takes an apple.] Grātiās

agimus, pater. Valē. TRANIO

Et vōs valēte. [7he boys start away with their poles, etc., one carrying the sack on his shoulder, anud each of them eating an apple. Tranio stands in the door for a while and looks after them. Then he counts his money over again. Finally, in

a pleased tone, he speaks to himself] Quattuor sestertiōs prō ūnō saccō, prō quō nē quadrantem quidem dedī. Hoc dīcere volō, [Confidentially to the audience] invēnī saccum in hortō vīcīnī meī [Pointing with his thumb]l. Nōn est male gestum. (Walks into the house.

The four Girls come along following the boys. They are dressed in the Mother’s clothes, as at the end of Scene?

PUELLAI Timeō nē errāverīmus. Scītisne quō itinere redīre possīmus?

Cio] SCENE II

PUELLA II Redīre? Ego nōn redībō. Puerōs sequī volō ut videam quid agant. PUELLAI Tamen, sī eādem viā nōn eāmus —

PUELLA II Sī dē viā sollicita es, ad hanc casam adeāmus et quae- rāmus. (-oes to the door of the hut and knocks. An Old wWoman comes out.] Dīc, māter, vīdistīne trēs puerōs hāc viā euntēs?

ANICULA Trēs puerōs nōn vīdī. Quid vultis?

PUELLA III Istī puerī domō fūgērunt, neque usquam reperīrī pos- sunt. Eōs quaerimus. ANICULA Quaerite igitur. Ego nihil sciō.

PUELLA HII Tamen rē vērā eōs quaerimus. Fortasse vir tuus de

illīs dīcere potest. ANICULA

Fortasse. Eum vocābō. (Goes into the house calling] Trāniō! Trāniō! TRANIO Appearing in a few seconds] Quid vultis?

PUELLA HII Trēs puerōs quaerimus, quī effūgērunt. Sī hāc viā iērunt, petimus ut nōs certiōrēs faciās.

L11] SACCUS MALORUM

TRANIO Quid mihi dabitis, sī vōbīs vērē dīcam dē puerīs?

a

PUELLAI

Accipe sestertium. (Giving him a coin. TRANIO

LAfter examining the coin] Grātiās agō. Es bona puella.

PUELLA III Quid dīcis dē puerīs? Id scīre cupimus.

TRANIO Paulō ante trēs puerōs vīdī hīc praetereuntēs.

PUELLAI Num quid portāvērunt?

TRANIO Habēbant līneās et arcum et ūnum piscem et saccum

plēnum mālōrum. PUELLA IV

Saccum plēnum mālōrum? Mīror ubi saccum istum

invēnerint. TRANIO

Id reperīre potestis, sī eōs cōnsecūtae eritis priusquam omnia māla comēderint. Valēte. [Goes back into the house.

PUELLA IV Hoc mihi mīrum vidētur — saccum plēnum mālōrum.

PUELLA II Nōn tam mīror dē mālīs quam ūnum ex eīs habēre cupiō.

L1] SCENE III

PUELLA 1 Eāmus celeriter. Nisi id faciēmus, nē ūnum quidem

mālum erit reliquum. PUELLA I11

Ita. Eāmus. Eāmus. They go quickly, following the boys.

SCENE III

The court of a house, as in Scene I. There is no one on the stage

at first. MATER

CBehind the scenes] Scapha! Scapha! [Ēntering] Ubi an- cilla iam sit nesciō. Neque puerōs neque puellās videō, quamquam sevērīs verbīs imperāvī ut puellae in domō manērent. Trēs gradūs vix fēcī extrā iānuam, iam omnēs

abiērunt. Scapha! SCAPHA

[Ēnters excitedly] Adsum, domina mea.

MATER Iam diū adesse dēbēbās. Bis tē vocāre coācta sum.

SCAPHA Veniam petō, domina. Eram sollicita propter puellās.

MATER Sīcut ego sum. Utbi sunt fīliae meae?

SCAPHA Cum paulō ante rediissent, per scālās ēscendērunt in

tēctum, ubi iam sedent. MATER

Sedent intēctō aedium? Puellae in tēctōsedent? Scapha, es īnsānā mente, nescīs quid dīcās.

[13] SACCUS MALORUM

SCAPHA Utinam quod dīcō falsum esset. Sī mihi nōn crēdis, tuīs oculīs vidēre licet.

(The women walk to the side of the stage and look up-

ward where Scapha points. MATER

CHorrified] Puellae! Quis hoc umquam crēdidisset? Puellae! Statim dēscendite! Statim! C[After looking up a while longer as if watching their descent] Iam cum in lūdum nōn eunt, docēmur quanta beneficia magistrō dēbeāmus.

SCAPHA Vērum est, domina. Tamen sunt parvae. Ignōscendum est, sī nōn tam sapientēs sunt quam adultī hominēs.

MATER s the Girls straggle in, each eating an apple, and one of them with the sack, now nearly enpty] Nōnne vōbīs imperāvī ut bonae essētis dum redīrem? Quid habētis in istō saccō?

PUELLA II Sunt māla, māter mea, māla bona.

MATER Māla? Unde māla accēpistis?

PUELLA II

Nē īrāta sīs, māter. Paulisper tantum āfuimus. Vidēre volēbāmus quid puerī agerent.

MATER Id nōn quaesīvī. Scīre volō quis vōbīs istum saccum dederit. (Pointing at the sack.

L14] SCENE III

PUELLA III Eum invēnimus in viā.

MATER In viā? Posthāc in viam nōn exībitis. Id prōvidētō. Iam hīc cōnsīdite circtum mēnsam et reliqua māla ad cēnam parāte. [Shaking her finger at them] Nēve ūnum mālum gustāverītis. [They lay aside the apples they are eating and begin paring the rest in crestrallen silence. The Mother

sits down to sew. Nothing is said for a whtile. Scapha goes out.

PATER [Ēnters and stops in surprise when he sees the givls all at work. He speaks to himself, much pleased and rubbing his hands] Haec est disciplīna maiōrum. Hoc laudō. [īv his wife] Mīror tamen cūr omnēs tam dīligenter labōrent. Nōn ita eās cognōvī ante hunc diem. Quid puellās nostrās tam subitō mūtāvit? MATER Est supplicium prō eārum dēlictō.

PATER Hem, id suspicātus sum. Bene est, sī modo aliquid agant quod sit ūtile. [Meantime a tramping and thumping is heard outside. The Father turns toward the noise] Quid illud est?

The three Boys enter, tuo of them supporting the third, PUER II, between them. He limps badly. The Father speaks.

Quid videō? Mīlitēs sine dubiō ex proeliō redeuntēs. Dī-

cite, quis Gallus aut Germānus hunc Rōmānum vulnerāvit?

[15] SACCUS MALORUM

PUERI

Nōn vulnerātus est. Cecidit. [They have deposited Puer II on a bench, where the mother makes him comfortable, with a cushion. IVhile the following lines are spoken, she continues her sewing. The girls look on wistfully, but continue their work. PATER Num hostis eum fugāvit, ut satis celeriter currere nōn posset? Erat fortis hostis, sine dubiō. Cūr eum vōs nōn in fugam dedistis? Hostēs fugandī sunt, nōn fugiendī.

PUER 111 Agricola quīdam in nōs saevum canem mīsit, quī mor- dēre parātus erat, nisi fūgissēmus. Ita piscem nostrum āmīsimus. PATER

Piscem? Quantus erat piscis ille?

PUERIII1

LHis hands about three feet apart] Erat tam longus. Magnus piscis erat. PATER

Male factum! Tōtam praedam relīquistis in manibus hostium. PUER 111 Ita. Neque piscem sōlum. Magnum saccum quoque āmīsimus, mālōrum plēnum. [The girls exchange significant looks, and whisper and nod to each other.

16] SCENE III

PATER Id erat stultum. Nam canis, ut mihi vidētur, māla nōluit. Pisce sōlō sine dubiō contentus fuisset. Saccum mālōrum plēnum melius erat domum portāre. (The givis try to keep from laughing out loud.

MATER LPicking up the sack from the table] Estne hic saccus quem āmīsistis? PCERI Nesciō. Est nostrō saccō similis.

APPARITOR LOutside a loud knocking is heard and a voice calling] Āperīte iānuam. Magistrātus iubet aperīre iānuam.

PATER [Going to the door, opens it. They all look on in astonishment; several of the girls leave the table to see what is going on. When the door is opened, an Apparitor comes in, followed by a Farmer in a sheepskin cloak. The Father addresses them gravely] Haec est mea domus. Sī quid sceleris hīc occultātum putātis, licet

quaerere. APPARITOR

Eōs quaerimus quī saccum cum mālīs ab hōc homine

abstulērunt. AGRICOLA

Saccum quem mihi ex hortō abstulērunt, meō nōmine īnscrīptum. Erant bona māla, erat novus saccus.

PATER [Taking the sack from the table] Eratne huic saccō similis?

C17] SACCUS MALORUM

AGRICOLA CSunprised] Hic ipse est meus saccus. Ut vidētis, meō nōmine īnscrīptus est. [Pointing at the name on the sack] Meus saccus est. Quī eum habuit, fūr est, pūniendus est.

[The giris look frightened. The Farmer keeps the sack and holds it tightly under his arm.

PATER Nihil hārum rērum intellegō. Tuus est fortasse saccus, sed certō sciō nēminem ex hīs eum tibi iniūstē abstulisse.

PUER llI Est saccus quem nōs ab homine aliquō ēmimus. EFrat plēnus mālōrum. Quattuor sestertiōs eī dedimus prō saccō.

APPARITOR CSarcastically] Hanc fābulam nōn facile est crēdere. Nōn est vērī simile puerōs saccum mālōrum plēnum ēmisse pecūniā. AGRICOLA Ego sciō hunc saccum cum mālīs ex hortō meō ablātum

esse. APPARITOR

lAssuming authority] Fūrem quaerimus. Vōs habēbātis saccum. Apud iūdicem patefaciendum est quōmodo eō saccō potītī sītis. Quārē in iūdicium īre necesse est. Quis ex vōbīs saccum habuit? Eum enim accūsāmus.

PUER I Nōs saccum ēmimus.

PUELLAI Nōs autem saccum invēnimus.

rs] SCENE IV

MATER Ego saccum in manibus habuī.

PATER Saccus est in meā domō. Quem nostrum accūsātis?

APPARITOR

CSeratching his head, slowly and thoughtfully] Vōs saccum ēmistis CPvinting to the boys, and screwing up his face in thoughtl. Vōs saccum invēnistis [Pvinting to the giris]. Tū saccum in manibus habuistī LPointing to the Mother]. Tū autem saccum in domō habuistī lPointing to the Father. After scratching his head again, he gets a bright idea] Tandem! Audīte! Ōmnēs vōs in iūdicium vocō, crās ad hōram tertiam. Cūrāte ut

adsītis. [Turns and walks off stifly and pompously, followed by

the Farmer, who looks back just before he reaches the end of the stage, and shakes his staff at the boys.

SCENE IV

A spot in the Forum. At one end of the stage a Judge sits in a chair, which is on a platform a little higher than the floor. Near him at the back of the stage is the Apparitor, stiffly facing the audience. Several people are hanging about, among them Tranio. The Farmer stands before the Judge with the empty sack under his arm.

IUDEX

USpeaking to the Farmer] Dīcis tibi ex hortō saccum plē- num mālōrum ablātum esse.

AGRICOLA Tta dīcō. Erant bona māla, est novus saccus. [Showing the sack] Māla nōn minus quīnque sestertiīs aestimanda sunt.

L19] SACCUS MALORUM

IUDEX Potest esse ut dīcis. Tamen sī eum nōn reperiēmus quī saccum abstulit, nesciō quōmodo quīnque sestertiōs tuōs

reciperāre possīs. AGRICOLA

Sciō quis saccum meum habuerit. Invēnī fūrēs. Petō

ut eōs addūcī iubeās. IUDEX

Accūsāsne illōs hominēs fūrtī?

AGRICOLA Eōs vērō accūsō. Saccum in eōrum domō, in eōrum manibus vīdī. Praetereā appāritor ipse [Pointing to the

Attendant] eōs vīdit. IUDEX

[70 the Apparitor] Appāritor, quid respondēs ad haec?

APPARITOR Est vērum quod agricola dīxit.

IUDEX Eōs accēdere iubeō.

(The Apparitor walks out pompously. A Street Vender comes in with a little tray before him, suspended from his shoulders, on which are apples.

VENDITOR MALORUM (Calling in a high, long-drawn, singsong voice] Māla bona! Māla magna! Decem māla emite sestertiō! [As he passes along, one or tuo of the bystanders take up an apple, look at it, smell it, and lay it doun

again. He keeps on shouting as he slowly passes from one to another.

20] SCENE IV

Enter APPARITOR, as he left, followed by the Father, the Mother, the four Girls, and the three Boys, who line up before the Judge.

APPARITOR Hominēs quōs iussistī addūcō.

(Then he resumes his original position.

IUDEX Accūsātī estis ab hōc homine [Pointing to the Farmer], quod saccum plēnum mālōrum eī ex hortō abstulerītis. Sī quid dīcere vultis, licet. PATER Est falsum. Saccum nōn abstulimus. Māla nōn abstu- limus, neque ego neque quisquam ex hīs.

[Pointing to his family. IUDEX

Agricola, cuius reī hōs hominēs accūsās?

AGRICOLA Dīcō eōs meum saccum et mea māla in domō suā habuisse, in saccō nōmen meum, Gaī Furnī, īnscrīptum esse LShowing the sack]. Hīs dē causīs eōs fūrtī accūsō.

IUDEĒX Habēbātisne saccum in domō vestrā, istō nōmine

īnscrīptum? PATER Habēbāmus. IUDEX

Habētisne māla quae in saccō erant?

PATER Habuimus māla, iam nōn habēmus. Nam omnia comē- dimus.

2r] SACCUS MALORUM

IUDEX (70 the Father] Quam multa māla ēdistī?

PATER Duo. IUDEX

[70 the Mother] Quam multa tū?

MATER

Unum sōlum. IUDEX

[7v the girls] Quam multa vōs?

PUELLA I Quaeque nostrum tria māla habuit.

IUDEX (70 the boys] Et vōs, quam multa quisque ex vōbīs

comēdit? PUER I

Oblitus sum. Fortasse decem comēdī, fortasse vīgintī. Sciō mē nōn plūra ēdisse quam hī.

Qointing to the other boys. IUDEX

[76 the girls] Quid aliud fēcistis?

PUELLAI Saccum invēnimus in viā.

IUDEX (7o the boys] Et vōs, quid fēcistis?

PUERI Saccum ēmimus ab homine quōdam, cui quattuor ses- tertiōs dedimus.

[22] SCENE IV

IUDEX Utbi habitat iste homō? PUER I Nōn longē ab urbe. IUDEX

Cūr extrā urbem iistis?

PUER I Piscātum ībāmus et vēnātum.

IUDEX Satis est. Manēte paulisper, dum lēgēs īnspiciam.

(They retire toward the other side of the stage while the Judge opens a big book which has been lying by his side, and looks about in it as if having difculty in finding what he wants. Meantime the Apple-vender begins crying his wares again, offering them to the Farmer, who still stands near the Judge’s chair.

AGRICOLA [Taking up an apple, in surprise] Haec sunt ex meō hortō. Sunt mea māla. Tūne ea ex hortō abstulistī? [Ae takes the Vender by the arm and holds him fast.

VENDITOR MALORUM Ea nōn abstulī, sed ēmī ab homine quī ea per viam nōn longē ab hōc locō vēndēbat.

[The Farmer continues to hold him fast, while the apples roll on the ground, where they are picked up ō5y the happy bystanders.

IUDEX CHaving finished his inspection, in a loud voice] Silentium! Iubeō silentium! [7hey aressilent, but the Farmer keeps his hold

[253] SACCUS MALORUM

on the Vender.] In lēgibus inveniō nōn satis esse causae cūr hī hominēs [Pointing to the family] condemnandī sint. Tamen suspectī sunt. Quārē līberārī nōn possunt, pri- usquam alia indicia adlāta sint. Agricola, quid aliud dīcis?

AGRICOLA Dīcō hunc hominem mea māla vēndere.

[The crowd presses closer, among them īranio.

VENDITOR MALORUM C(Violently to the Farmer] Manūs abstinē! Mē līberā! Māla tua ex hortō nōn abstulī. [Turning he sees Tranio, and points at him] Ab illō homine haec māla ēmī. Illī quattuor sestertiōs dedī.

IUDEX WHas been looking on, and now gives a signal to the Appavitor, who pushes through the crowd and arrests Iranio, and brings him before the Judge. The Farmer sees this, but still holds the Vender fast. The crowd falls back in such a way that the family stand in view of the audience. The Judge speaks to Tranio, who is held by the Apparitor to the end of the scene] Dīc mihi nōmen tuum.

TRANIO Ego sum Trānī£.

IUDEX Ubi habitās?

TRANIO Extrā urbem.

IUDEX

Unde māla accēpistī quae huic hominī [Peointing to the

Vender] vēndidistī? TRANIO Ea invēnī.

[24] SCENE IV

IUDEX Ubi?

TRANIO In hortō vīcīnī meī.

IUDEX

[70 the Farmer] Agricola, cognōvistīne hunc?

AGRICOLA Eum vērō cognōvī. Est vīcīnus meus, Trāniō.

IUDEX Vidistīne eum umquam in hortō tuō?

AGRICOLA Saepe iam. IUDĒX

Deditne tibi pecūniam prō mālīs?

AGRICOLA Nihil umquam, quod sciam.

IUDEX

Satis est. Audīte iūdicium. [Alllsten.] Hunc hominem, Trāniōnem, iūdicō esse fūrem. Eum condemnō fūrtī. Prō quōque saccō quem in hortō huius agricolae invēnit, huic agricolae quattuor sestertiōs dēbet. Praetereā sex mēnsēs in hortō huius agricolae labōret sine mercēde. Vōs autem [Turning to the family], et pater et māter et puerī et puellae, omnēs estōte līberī.

(The Apparitor drags off Tranio, while the Farmer still holds the Vender, who pulls him off the stage. The boys and girls rush toward the Judge, who smiles as they come.

C25] SACCUS MALORUM

PUERI ET PUELLAE Grātiās maximās agimus. Es bonus homō.

PUER I LShouting] Quis est bonus homō’?

OMNES lAs loud as they can] Iūdex!

a6] TIRONES TIRONES (The Recruits)

PERSONAE Lōcia, TERTULLA MāTER, their mother (Scenes I, II, III, IV) PATĒR, their father (Scenes I, II, III, IV) MāRCUs, their brother (Scenes I, II, IIīj QuīNTUS, son of a friend of the family (Scenes I, II, III, IV, V) MCULIERēS I and II, two old women selling cakes (Scene II) SERVUS, an old servant of the family (Scene III) APPāRITOR, an attendant upon Caesar (Scenes IV, V) CAĒSAR, governor of Gaul (Scene V)

hmo sisters (Scenes I, II, III, IV, V)

SILENT CHARACTERS, two men and two boys (Scene II)

PLACE: A town in Cisalpine Gaul.

TiME: From early spring to late fall, 58 n.c.

-s ] TIRONES

SCENE I

The atrium of a Roman house in a town of northern Italy, not far from the Alps. At the rear of the stage, against the wall, is a small shrine of the household gods. It is the day of the Liberalia, 58 B.C., and the two daughters of the household are engaged in decorating the shrine with garlands.

LUCIA

Brevī tempore omnia erunt parāta. Ubi putās hanc corōnam pulcherrimē pendēre?

[Holding a small wreath at severalplaces to try its effect.

TERTULLA Ibi nōn placet. Hīc putō. [Pointing.

LUCIA Sī hīc pendēbit, alia illīc CPointing] pōnenda erit. Ne-

que aliam habēmus. TERTULLA

Est tam parva [Zaking the garland], pulchra tamen. Pulchrior erit in capite quam in sacellō. [Putting it on her

head] Nōnne ita placet? LUCIA

Maximē. Sī tibi hodiē corōna gerenda esset, nūllō aliō locō tam pulchra vidērētur quam in capite tuō. Hic autem nōn est noster diēs.

[29] TIRONES

TERTULLA [Tuking the garland from her head] Est frātris diēs fēstus, hoc sciō. CSuddenly getting an idea] Quid sī in frātris capite corōnam pōnāmus? [Delighte2] Nōnne id sit pulcherrimum,

pulcherrimum? LUCIA

Timeō ut hoc frātrī tantum placeat quantum tibi placet. Cognōvistī puerōs, quam ferōcēs sint. Gladiōs et hastās et aliās rēs tālēs habēre mālint. Dē corōnīs dubitō.

MATER [Coming in with a wxite toga over her arm, which she lays carefully on the table] Suntne omnia parāta? Iam tempus est. Nam pater et frāter mox aderunt.

TERTULLA Nōnne tibi haec placent [Pointing to the decorations]? Nōnne sunt pulcherrima?

MATER Sunt valdē pulchra, valdē. Frātrī quoque putō haec grāta fore. Quid autem fīet eā corōnā quam in manū

tenēs? TERTULLA

Id nesciō. Locus idōneus est neque in sacellō neque in pariete. Igitur in frātris capite eam pōnere mālīmus.

Quid tū arbitrāris? MATER

Hōc frāter certē gaudēbit, praesertim sī fīet ā vōbīs. Nōn tamen corōnātus īre potest per viās. Quārē suādeō ut eum ōrnētis simul atque ātrium intrāverit; deinde ut corōnam auferātis cum togā virīlī indūtus sit.

[30] SCENE I

TERTULLA

Faciēmus quod suādēs. Ambō nōs eum corōnābimus. LSteps are heard.] Audīte. Iam adpropinquant.

[The girls go on tiptoe to the entrance and stand on each side of it. Then when their Father and Brother come in, they step up behind the latter and place the garland on his head. He feels the garland with his hand, then smīles at his sisters, who look at him in admiration. Then they follow their father to the shrine. Here the latter pours an offering of meal and wine on the altar, and then turns to his son, who stands by modestly. The boy has on thetoga praetexta, and has a bulla about his neck.

FATER

Iam, mī fīilī, adolēvistī. Pueritia trānsācta est. Virī mūnera accipienda sunt. Ante hōs deōs, quī mē et maiōrēs nostrōs adulēscentēs vīdērunt puerīlia dēpō- nentēs et sūmentēs virīlia, tibi togam praetextam iam adimō [Takes off the boy’s toga and hangs it by the side of the shrine]. Haec bulla quoque, quae comes pueritiae tuae adhūc fuit, iam Laribus cōnsecrētur [akes off the bulla and lays it on the altar]. Vir es iam, puer esse dēsinis. Cum hāc togā tibi iūra et officia virōrum sūmenda sunt. lPutting on him the toga virilis, which his wife hands to him] Vir fortis esse dēbet. Vir patriam suam amat et dēfendit. Ut dignus sīs maiōribus tuīs, cupiō et spērō.

LShakes his son’s hand warmly, as do also the Mother and sisters. Tertulla takes off the garland and puts

it on her own head. Whāile they are engaged in this, QUINTUS comes in, already dressed in the man’s toga.

L31] TIRONES

PATER

Salvē, Quīnte. Ut videō, tū quoque hodiē vir factus es. [Shaking him by the hand] Gaudeō patriam tam multōs et fortēs adulēscentēs habēre quī eam dēfendant. Nōnne nōbīscum ībis ad templum?

QUINTUS Sī vōbīs placet, libenter ībō. Meō patrī enim longiōre viā ad templum eundum erat, ut mēcum īre nōn posset.

PATER Pater tuus est cīvis optimus, quī nōn sua tantum, sed aliōrum onera sustinet. Cūrā ut eī sīs similis.

[Meantime the others have shaken hands with Quintus.

TERTULLA Ut mihi vidētur, nōn rēctē indūtus eris togā virīlī, nisi corōnā eris indūtus. CPuts the garland on his head. QUINTUS

[Bowing to her] Grātiās agō quod mihi id dedistī quod

deerat. TERTULLA

Ngē errēs, diū corōnam nōn habēbis. Nam quod puerō est idōneum, virō nōn est.

[Takes the garland from his head and puts it on her own.

MATER Cavē tū nē ipsa puer fīās. Ista lūdibria virginem nōn decent.

(certulla takes off the garland and appears ashamed of what she has done. Quintus aalks toward her, and as she looks up, holds out his hand. She gives him the garland with a smile, and he hides it under his toga.

[32] SCENE II

PATER Iam prope tempus est ut proficīscāmur.

MATER Nōs breviōre viā ībimus atque vōs ad ārās exspectā- bimus. Valēte.

CShe and the girls go out. Quintus kisses his hand to Tertulla, who turns to look at him as she goes out.

SCENE II

A street near the temple. At the back of the stage, some distance apart, are seated two old Women, each with a stand before her, on which is a small altar and some thin cakes for sale.

MULIERI

Diū iam exspectāmus, neque quisquam hāc viā accessit. Timeō nē lība nostra hodiē nōn emantur. Multīs Līberā- libus iam eōdem locō sēdī: numquam necesse fuit tam diū exspectāre dum emptor venīret.

MULIER 11

Neque melior fortūna est mea. Aliā viā eunt hodīē;, sine dubiō, Nōn esset mīrandum, sī nēmō venīret. Nam, ut dīcitur, fit cōnscrīptiō mīlitum per tōtam prōvinciam nostram. Bellī temporibus, sī fīliōs habērem, ego quoque eōs puerōs quam virōs esse māllem. Puerī saltem ab hostibus nōn interficiuntur.

MULIER 1

Vodding significantly] Nōs dē hāc rē dīcere possumus. Tuus vir in Āfricā, meus in bellō Cimbricō interfectus est. Illa erant tempora miserrima et perīculōsa.

[33] TIRONES

MULIER II

Nūllum est tempus quod nōn sit miserum. Etiam si pāx est in nostrā terrā, in aliā tamen semper pugnātur. Iam Caesar, quī hanc provinciam obtinet, trāns Alpēs

bellum parat. MULIER I

Itaque omnibus quī hodiē togam virīlem sūment, sine dubiō cum eō trāns Alpēs eundum erit. [Sadly] Minima pars eōrum redībit.

Enter the Mother with LuciA and TERTULLA. They take up a position between the two women

MATER Hōc locō cōnsistāmus. Hāc viā ībunt omnēs ex nostrā vīcīniā. Hīc eōs optimē vidēre possumus.

LUCIA - UAfter they have waited a little while] Mīror nēminem prae- terīre. In proximā viā multōs vīdimus quī ad templum

ībant. TERTULLA

Looking down the street] Iam veniunt. Vidēte.

Two Boys with their Fathers come along the street, the Boys stopping to buy cakes of the women, which they carry away with them in their hands. Each woman puts a small offer- ing on her altar whenever she sells a cake. The two men bow to the Mother as they pass.

LUCIA Spērō nostrōs mox ventūrōs esse. Hōs ignōtōs vidēre nōlō.

[34] SCENE 1II

MATER Nōn sunt ignōtī. Habitābant in nostrā viā cum vōs

parvae essētis. LUCIA

Nēminem ex eīs umquam vīdisse videor. Vōs, quī multōs annōs nātī estis, tōtam urbem cognōvistis.

TERTULLA Sciō eōs iam nōn longē abesse. Nam nōbīscum paene eōdem tempore profectī sunt. Em, [Pvcinting down the street] iam adpropinquant. Iam eōs videō.

LUCIA (Looking] Patrem videō et Mārcum. Ubi autem est

Quīntus? TERTULLA

Malōs oculōs habēs, ut mihi vidētur. Nōnne vidēs Quīntum post patrem euntem?

LUCIA Iam videō. Tam parvus est ut post virum adultum nōn

videātur. TERTULLA

Ego eum vīdī ab initiō, etsī post patrem erat. Quārē dīcō tuōs oculēs nōn esse bonōs.

MATER Tacēte, puellae. Quid dīcet pater, si vōs audiet clā- mantēs in mediā viā? Iam attendite.

The Father and the Boys come in, and wave their hands to the Mother and Sisters, who do likewise; QUINTUS waves his hand repeatedly to TERTULLA, who in turn looks at him and smiles.

[35] TIRONES

After they have bought their cakes, they pass,on, QUINTUS being last. Ivhen he passes TERTULLA, he slips the garland out from under his toga and hands it to her. She hides it quickly, to keep the rest from seeing it. QUINTUS turns, just as he passes off the stage, and the tuo wave their hands and smile

as before. LUCIA

[Moticing this] Nōn mīrum est tē Quīntum tam bene vidēre posse. Nam ille tē sōlam videt.

TERTULLA Ego patrem et frātrem tam bene viīdī quam tē videō.

LUCIA (70 her Mother] Quam diū exspectapdum est, dum re-

vertantur? MATER

Paulisper tantum. Ecce, eī quōs anteā vīdimus iam redeunt.

The Fathers and Sons who went by first come back, and pass across the stage, the tuo Sons marching proudly in frout.

LUCIA LAfter a little while, during which they look in the direction from which these came] Dēfessa sum manendō.

MATER Sī manēre nōn vultis, eīs obviam eāmus. Deinde per forum domum redīre poterimus. Ibi plūrēs erunt hominēs.

PUELLAE Eāmus. Eāmus.

(The Mother and āaughters go toward the temple. [361 SCENE III

MULIER I Ibi erunt plūrēs hominēs sine dubiō. Melius esset nōs quoque sedēre in forō. Hīc enim nihil prōficimus.

Rises and begins gathering up her cakes as the curtain falis.

SCENE III

The atrium of a Roman house, as in Scene I. The Mother is seated near one end of the stage, sewing. TERTULLA and QUINTUS, who is now dressed as a soldier, are standing together some distance away. The girl has a flower in her hair and is looking at him in admiration. The time is several weeks after the preceding scenes.

/ TERTULLA Iam mihi tōtus mīles esse vidēris. Dīc quid hodiē in forō ēgerītis. QUINTUS Quid ēgerīmus? Iūrāvimus in verba imperātōris, quī nōs monet ut iter facere parātī sīmus.

TERTULLA Licetne scīre quid iūrāverītis? Multōs hostēs vōs inter- fectūrōs esse, ut suspicor.

QUINTUS Pollicitī sumus nōs imperātōris imperiō audientēs fore, patriam nōs et rem pūblicam dēfēnsūrōs, semper memorēs fore virtūtis maiōrum quā Rōma per multōs annōs dē- fēnsa atque cōnfīrmāta sit.

TERTULLA Aderatne ipse Caesar?

[37] TIRONES

QUINTUS Aderat ac breviter nōs adlocūtus est.

TERTULLA Cōnsīdās, quaesō, et nārrēs quid vōbīs dīxerit. Usitting down] Nōn dubitō quīn magnopere vōs laudāverit.

QUINTUS

Nōlī putāre mīlitēs omnēs diēs et hōrās laudārī. Nōn laudāmur nisi quid ēgimus quod laude dignum sit. Multō saepius monēmur ut fortēs sīmus et memorēs cuius urbis

sīmus cīvēs. TERTULLA

Ut tū dīcis, Caesar mihi sevērus esse vidētur, cum clēmentem eum semper et benevolentem putāverim.

QUINTUS Et clēmēns et benevolēns est in locō. Clēmentiā sōlā proelia facere et hostēs vincere nōn potest.

TERTULLA Dīxitne quō tempore vōs. proficīscī oportēret? Id maximē cūrō. QUINTUS Dīxit mīlitem semper parātum esse dēbēre, ut omnibus hōrīs pugnāre posset prō patriā.

TERTULLA Num vōbīs hodiē aut crās proficīscendum est?

QUINTUS Nōn putō nōs diū morātūrōs esse. Nam Helvētiīs dīxit esse in animō iter facere per prōvinciam, quod prohibendum

038] SCENE III

est. Quārē exercitum sine morā eum trāns Alpēs ductū-

rum esse arbitror. TERTULLA

Eheu, spērō id nōn fore, praesertim hōc annī tempore, cum avēs cantent in arboribus et prāta omnia sint flōribus complēta. Cūr bellum nōn differātur in hiemem? Quantō gaudiō fruāmur, sī tū et Mārcus manēre possitis.

QUINTUS Oblīvīsceris nōs esse mīlitēs, quī nōn id faciunt quod volunt, sed id quod imperātur. Flōrēs erunt pulchrī, etiam sī nōs erimus trāns Alpēs, [Looking at her hair] et pulcher- rimōs omnium tū semper invenīre poteris.

TERTULLA .

[Taking the flower from her hair, smelling it, anud stroking its petals] Nōnne est suāvis, suāvissimus?

[Turns to see that her mother is not looking, then quickly

presses it to her lips and fastens it to the young man’s coat.

QUINTUS Grātiās maximās agō prō dōnō tam pulchrō. Hunc flōrem dīligenter servābō. CSmelling it. TERTULLA

CPouting] Flōrem servābis et puellae oblīvīscēris, nisi

fallor. QUINTUS

Hōc modō vērius dīcitur: Etiam sī flōrem nōn servābō, tamen puellae nōn oblīvīscar.

TERTULLA UShaking her finger at him] Cavē quid dīcās. Verba tua memoriā tenēbō, etiam sī alia oblīvīscar omnia.

[39] TIRONES

Enter MARCUS, also dressed as a soldier. He is waving a letter in his hand, aund is followed by LuciA

MARCUS Māter, soror, Quīnte, omnēs audīte. Epistulam accēpī quam avunculus mihi scrīpsit ab exercitū.

[They get up eagerly and come to him, reaching for the

letter. MATER

Epistulam ā frātre meō? Quid agit? Estne bonā

valētūdine? MARCUS

Nihil dīcit dē valētūdine. Dē bellō dīcit, dē Gallīs et

Helvētiīs. MATER

Sī dē bellō scrīpsit, est sine dubiō salvus. Sī aeger esset aut sī vulnerātus, id scrīpsisset. Lege epistulam clārā vōce, ut omnēs audiāmus quid in eā sit.

MARCUS

Assuming a pose and elearing his throat] “C. Semprōnius Mārcō suō salūtem. Sī mēcum fuissēs, cognōvissēs quam magnīs itineribus Caesar contenderet. Per Cisalpīnam Galliam, per Alpēs, per Allobrogēs, nē ūnum quidem diem intermīsimus. Dūrissimum iter erat per Alpēs, ubi nōn sōlum urbēs nūllās nec oppida invēnimus, sed paene nihil erat quod ederēmus aut biberēmus. Quōmodo incolae in illīs saxīs vīvere possint nesciō. Potius in silvā apud bēstiās habitāre mālim. Sī numquam aliō tempore, tum certē dīs grātiās ēgimus, cum, montibus tandem superātīs, campōs sub pedibus vīdimus. Hīc iam vēr est; in Alpibus autem nihil nisi hiems. Satis tamen est labōrandum. Timet

L40] SCENE III

Caesar nē Helvētiī trāns Rhodanum et per provinciam nostram iter faciant. Itaque diēs noctēsque ab omnibus cōpiīs rīpa flūminis mūnītur. Ipse in ītaliam profectus est, ut novās legiōnēs cōnscrīberet. Spērō cum illīs vōs quoque ad exercitum ventūrōs esse. Sī glōriam cupiētis, hīc im- petrābitur. valē.” II aving the letter in the air] ō fortūnam maximam, quod ad exercitum ībimus ! Ibi rēs aguntur. Ibi

glōriam quaerēmus. LUCIA

Labōrem, ut mihi vidētur. Nōlī putāre tōtōs diēs mīlitum

glōriā complētōs esse. MARCUS

Quid tū scīs dē bellō et glōriā?

LUCIA Id sciō quod dīcit avunculus in epistulā. Satis labōris dīcit sē habēre, glōriam autem spērāre.

MARCUS Abj, tū es puella, tū es imperīta hārum rērum. LUCIA Et imperīta libenter manēbō. Sīve crēdis, sīve nōn crēdis quod dīxī, reperiēs nōn omnia esse glōriōsa.

The Father comes in, followed by a Bearded Slave who carries tuo soldiers cloaks, which he lays on the table, and tuo large bundles, which he puts on the floor. Then he goes out.

PATER Tam parātī sumus. Haec sunt saga quae vōbīs ēmī. Videāmus num satis magna sint.

[The boys put on the cloaks, while the women walk around them, smoothing down the cloaks and feeling of the cloth, and looking them over critically.

L41] TIRONES

MATER

Mihi quidem pulchra et pretiōsa nōn videntur. Ubi haec ēmistī? PATER

In forō. Iam cōnfecta erant.

MATER Id quod putāvī. PATER Opus erat celeritāte. Caesar enim, ut dīcitur, hāc nocte

proficīscī statuit. MAīER

Hāc nocte? Utinam paucōs diēs morārētur. Vix puerōs nostrōs mīlitēs fierī vīdimus, cum eōs iam āmittimus.

MARCUS CCheerfully] Nōlī timēre, māter. Nōndum āmissī sumus. Spērō mē saepe domum reditūrum esse antequam āmittar.

MATER

Nē oblīvīscāris parentum et sorōrum. Nōs tuī certē nōn oblīvīscēmur. Ōmnibus diēbus dē tē cōgitābimus. Saepe etiam scrībite epistulās, ut sciāmus quid agātis.

TERTULLA 070 Quintus] Et tū mihi scrībēs epistulās multās et longās.

QUINTUS Plūrimās scrībam et longissimās. Ōmnia tibi nārrābō.

LUCIA Bene sciō quid in istīs epistulīs futūrum sit. Nihil de bellō, nihil de Gallīs, ūnum verbum aut duo dē parentibus

L42] SCENE III

et sorōre, tōta reliqua epistula erit de flēribus et de avibus quae cantant in arboribus. 0Wags her head as she says this.

TERTULLA Nisi tacēs, cūrābō ut nē ūnum quidem verbum dē tē

scrībātur. MATER

UStepping betueen them] D2ēsinite iūrgāre, et vōs gerite ut adultās virginēs decet. Nōnne scītis frātrem vestrum abitūrum esse, quem per duōs annōs fortasse nōn vidēbitis? [A trumpet blast is heard] Cūr tubā canitur?

PATER Signum est ut mīlitēs sē parent ad profectiōnem. 07he trumpet is heard again.] īam dīcendum est, “vValē.” LHe shakes hands with his son and then with Quintus] Este

fortēs iuvenēs. Memorēs este reī pūblicae.

MATER CShaking her son’s hand and holding it fast] Cūrā ut bonus sīs puer nēve patris et mātris oblīvīscāris.

(Whale she shakes hands with Quintus, Lucia shakes hands with her brother and then with Quintus, with- out saying anything. When Tertulla, who is last, grasps Quintus’ hand, she bends her head to smell the flower on his coat.

TERTULLA . CStill holding Quintus hand, as the rest are starting to go out] Nē oblīvīscāris flōris nostrī.

[When the rest are gone, she drops his hand, reluctantly, and goes back to sit down with averted face. The slave returns with hat, cloak, and staff, and begins taking up the bundles.

L43] TIRONES

TERTULLA [Looking up, comes to him quickly anud touches his arm with her hand] Manē paulisper. Ēst quod tibi dīcere velim. (He puts down the bundles.] Tūne cum puerīs ībis?

SERVUS Ita. Atque cum eīs manēre mē iussit dominus.

TERTULLA (Tak’ing his hand] Eōs tuēre, quaesō, non frātrem sōlum, sed Quīntum — maximē.

SERVUS CShaking her hand] Faciam quod poterō.

TERTULLA Eōs adiuvā. Sī quid accidat, fac nōs certiōrēs.

SERVUS Fortem et fidēlem mē reperiēs.

TERTULLA CPulling out a purse and handing it to him] Hoc accipe.

Est tuum. SERVUS

[Taking it, gratefully] Grātiās maximās agō, domina. (Picking up the bundles, turns back before going out] Valē,

domina. [Tertulla stands still for a few seconds, then stretches out her arms toward the door, and the curtain falks.

la44] SCENE IV

SCENE IV

The same atrium as in the last scene, about six months later. There is no one on the stage at first. Then QuiNTUS enters, disguised as the slave, with a false beard and a staff, and dressed in the slave’s cloak and hat.

QUINTUS

[(Coming in cautiously, he looks all about him and in every part of the room, and occasionally listens; then he takes off his hat and beard, and lays them on the table with his staff] Iam is sum rūrsus quī sum. Id multō facilius est quam agere servum. Interim angor cōgitāns quōmodo servus iste mīlitem tīrō- nem agat. Timeō nē tōtam rem cognōverint. Sī id accidit, tum āctum est, Quīnte, dē capite tuō. Exsilium est mi- nima poena quae exspectārī possit. Sed cūr mē hīs rēbus sollicitārī patiar? Maximam rem omnium, ut spērāvī, adse- cūtus sum. Sum in ipsā domō puellae meae, quam sī vi- dēbō, sī eius dulcem vōcem audīre licēbit, etiam sī statim redīre necesse sit, contentus erō. Nam in eius oculīs tōtam vītam positam esse sentiō. Dum illa mē amet, omnia perī- cula, omnēs labōrēs libenter suscipiam. Neque exsilium verear, neque mortem, nisi quod ibi puellam meam vidēre nōn possim. l[After a pause] Magnopere mīror ubi sit. CZurning his head] Tōta domus ab hominibus vacua esse vidētur. Manendum est tamen. Aliud agere nōn possum. LSits down at the table to wait, and after a little while absent- mindedly picks up a small picture which lies there. Turning it over, he sees it is Tertulla. Kissing the picture, he holds it before him with both hands] Iam imāginem tuam habeō, vīta mea, etiam sī nōn tē ipsam. Tam pulchra es, tam dulcis, etiam in hāc chartā, ut sine tē vīvere nūllō modō possim.

[45] TIRONES

[Xisses the picture again, and puts it in his bosom. Then, listening, gets up quickly, puts on his hat and bear4, and hides behind a cunrtain, just as the Mother and LUCiA enter. During the following dialogue he peeps out now and then, but is not seen by the women. The staff remains on the table.

MATER

Mīra rēs mihi nārrāta est ā vīcīnā, sē servum nostrum

vīdisse, quem cum Mārcō ad exercitūm mīsimus. Nisi

optimā fidē esset illa mulier, putārem eius mentem subitō factam esse īnsānam.

LUCIA Ubi eum vīdit?

MATER In forō.

LUCIA

Sī est in oppidō, mīror eum domum nōn vēnisse. Omnēs nōs eum vidēre velīmus ut quaerāmus dē puerīs.

MATER LSeeing the staff] Quis baculum suum in mēnsā relīquit? Baculīs hic nōn est locus idōneus.

LUCIA [Looking at the staff and taking it up, she holds it out excitedly toward her mother] Cognōvistīne hoc? Ita mē dī ament, est

servī nostrī baculum. MATER

[Looking at it indifferently] Vix crēdō. Cūr id putās?

LUCIA Quod hīc in lignō [Pointing] prīma littera nōminis eius incīsa est. Sciō, sciō eius hoc esse baculum. Sciō igitur eum hīc fuisse, neque longē ab hōc locō abesse. Running out with the staff.

[461 SCENE IV

MATER Quid illam puellam iam agitet nesciō. Vix verbum dē baculō locūta est, cum iam aufūgit. Dē servō tamen mīror, sī rē vērā sit in oppidō. Aliquis sine dubiō vīsus est ā vīcīnā, etiam sī nōn est servus noster. (Going out.

QUINTUS comes out cautiously from behind the curtain, but as steps are heard approaching, he conceals himself again. Enter the two Sisters with the staff

LUCIA Māter mihi nōn crēdidit, cum dīcerem hoc esse servī nostrī baculum. Iam velim eī tū hoc persuādeās.

. TERTULLA Nesciō cuius baculum in manū teneās. Potest esse servī, potest nōn esse. Sī servum ipsum vidērem, tum

certō dīcere possem. LUCIA

Undignantly] Numquam putāvī omnēs vōs tam stultōs esse. Dīcō hoc esse baculum servī nostrī.

Puts it under her arm, and as she does so Quintus

reaches out and pulls it away. Lucia screams and

turns around. He steps out and pulls off his hat and wig, and laughs.

TERTULLA Hem, Quīntus est! LUCIA

Quid tū hīc agis? [7ertulla and Quintus rush together and grasp each others hands, while Lucia runs out to give the alarm]

Māter ! māter! pater! QUINTUS

Tandem tē habeō. Ō gaudium!

C47] TIRONES

TERTULLA Paene mē terruistī. O Quīnte, gaudeō tē vēnisse. Nēmō cognōvit tē domī esse. Licetne tibi iam domī

manēre nōbīscum? QUINTUS

Vereor nē redeundum sit. Hoc mē facit miserum. Dum licet igitur, dīcāmus dē aliīs rēbus. Ut vidēs, nōn oblītus sum flōris nostrī.

TERTULLA Neque ego. Tōtōs diēs dē tē sōlō cōgitābam.

Lucia returns with her Father and Mother, and QUINTUS and TERTULLA drop each other's hands.

PATER Salvē, Quīnte, tē certē nōn exspectāvimus.

LShaking his hands, as also does the Mother.

MATER

Salvē. Quid agit Mārcus noster? Estne bonā valē- tūdine et bonō animō? Cūr ille tēcum nōn rediit?

QUINTUS Mārcus est vērus mīles. Dīcit sē in castrīs manēre velle cum avuncuPō. MATER Quam diū tū nōbīscum manēbis?

QUiNTUS Nōn diū. Nēmō in exercitū scit mē castra relīquisse. Quārē celerrimē redeundum est.

L48] SCENE IV

PATER Nēmō in exercitū scit tē castra relīquisse? Quōmodo id fierī potest? Visne dicere tē iniussū imperātōris exer- citum relīquisse? [Shaking his finger earnestly] Cavē, Quinte, nē tibi malum accidat. Celeriter enim reperient tē abesse.

QUINTUS Id nōn crēdō. Nam servum nostrum meīs vestīmentīs indūtum in locō meō relīquī.

PATER Hoc mihi nōn placet. Mīles imperātōrī pārēre dēbet.

QUINTUS Pārēbam imperātōrī dum pugnābāmus et castra mūniē- bāmus. Iam autem exercitus conlocātus est in hībernis. Caesar ipse in hanc prōvinciam ad conventūs agendōs re- diit. Hieme nihil faciendum est quod nōn servus tam bene facere possit quam ego.

PATER CShaking his head] Tamen mihi nōn placet mīlitem inius- sum relinquere exercitum.

LUCIA Dīc quōmodo ex castrīs effūgerīs.

QUINTUS Factus sum servus. Vidē.

[Putting on the hat and beard and imitating the slave’s walk with the staff. The girls laugh and clap their hands. A knocā is heard, and when the Father goes to open the door an Apparitor walks in.

La9] TIRONES

APPARITOR [Looking about, he walks straight up to Quintus and pulls the beard from his face] Caesaris iussū mēcum ībis.

CQuintus follows him out, looking sadly at Tertulla as he passes her. The family watch them go in amased silence. Tertulla covers her face with her hands and weeps.

SCENEV

A room in a public building of the same town, where Caesar has been holding sessions of court. Caesar is seated. The Apparitor stands near by, with his back to the wall.

CAESAR Trānsācta sunt omnia. Turba discessit. [7v the Apparitor] Iam adulēscentem addūc, tīrōnem illum, quī iniussū meō exercitum relīquit. (7he Apparitorgoes out.] Stultum puerum, quī putāret per vestīmenta servīlia sē effugere posse. Mīror quā dē causā id fēcerit.

The Apparitor returns, followed by QuiNrUS, whose hands are bound. CAEsSAR addresses QuiNTUS.

Ut mihi nūntiātum est, effūgistī ē castrīs. Cūr illud fēcistī? QuINTUS Domum īre cupiēbam.

CAĒSAR Nōnne amīcus tuus, Mārcus nōmine, nisi fallor, in castrīs mānsit? Ille domum vidēre nōn cupiēbat.

QUINTUS Mānsit quod eī nōn eadem causa fuit redeundī. Avun- culus eius est in exercitū.

50] SCENEV

CAESAR Tū autem, ut suspicor, avunculum habēs in citeriōre prōvinciā Dīc mihi quid sit eius nōmen. QUINTUS (ZLooking on the ground] Avunculum nōn habeō.

CAESAR Avum fortasse, aut sorōrem et frātrem parvulum, quōs vehementer vidēre cupiēbās?

QUINTUS Avus est mortuus. Neque frātrem neque sorōrem habeō.

CAESAR Tamen necesse est mē scīre cuius causā domum redi- erīs. Aemulōs meōs cognōscere studeō.

QUINTUS Dīcere nōn possum. Parātus sum poenās dare quantās ā

mē petere tibi placēbit. CAESAR

Dīc mihi tandem cūr exercitum relīquerīs. Fuistīne dēfessus pugnandō, dēfessus mūniendīs castrīs?

QUINTUS Omnia haec per aestātem libenter suscēpī. Exercitū in hībernīs conlocātō nihil vidēbātur quod faciendum esset. Itaque domum vēnī eō cōnsiliō ut statim redīrem. Iam rediissem, nisi appāritor mē abdūxisset.

CAĒSAR Suādēsne igitur ut hīberna tollantur, ut hieme omnēs mīlitēs domum mittantur?

[51] TIRONES

QUINTUS Nōn omnēs fortasse, sed eōs quī iūstam causam habeant

redeundī. CAESAR

Dē hōc mihi cōgitandum est, quid sit satis causae. Appāritor, abdūc adulēscentem. Crās fortasse causa magis appārēbit. [7he Apparitor takes Quintus away.] Iam suspicor [Vodding wisely] quae sit illa causa exercitūs relinquendī. Nōn est avus. Neque frātrem neque sorōrem habet. Cē- terum aliī hominēs sunt multī, et virī et fēminae, quī hōc in oppidō habitant. Inter eōs fortasse causa aliqua inveniētur. Vidēbimus. Vidēbimus.

The Apparitor returns. Extrā iānuam, appāritor, num sunt aliī.hominēs quī mē

cōnsulere velint? APPARITOR

Nēminem vīdī nisi duās puellās.

CAESAR Duās puellās? Rogā quid velint. (7he Apparitor goes out. Caesar laughs] Tam brevī tempore mē causam illam in- ventūrum esse vix spērāvī. Mīror tamen sī satis sit mīlitī, quārē exercitus relinquātur.

The Apparitor returns with Lucia and TERTULLA, who remain standing shyly near the entrance. CAESAR speaks. Salvēte, puellae. [Xindly] Sī quid est quō vōs iuvāre possim, dīcite līberē. Faciam quod est in meā potestāte.

Nōlīte timēre. LUCIA

Nōs sumus sorōres, et Quīntum petimus, quī in cūstō- diam est trāditus, ut līberētur.

[52] SCENEV

CAESAR Dīcisne dē istō Quiīntō quī exercitum suum relīquit in Allobrogibus ? LUCIA

Nihil malī facere voluit. Domum vidēre tantum voluit.

CAEĒSAR Domum tantum? Estne domus vacua an habet incolās?

LUCIA Habitāmus in eā quattuor, pater et māter et nōs quās vidēs. CAESAR Et vōs sine dubiō estis Quīntī sorōrēs. Tālēs sorōrēs ego quoque habēre velim, quae tam fortiter frātris causam

dīcant. LUCIA

Nōn est frāter noster, sed frātris amīcus. Ēius līber-

tātem petimus. CAESAR

Frātris amīcus, sorōribus autem, ut suspicor, est inimī- cus. Id satis causae mihi nōn vidētur. Sī inimīcus est, nōn intellegō cūr eius lībertātem petātis.

TERTULLA LBolāly] Liībertātem eius petō quod mihi ipsī est amīcus.

CAĒSAR Tuā causā igitur exercitum relīquit? Tuā causā in cūstōdiam est trāditus?

TERTULLA Id nesciō. Sed hoc sciō, mē gaudēre quod exercitum relīquerit.

[s3] TIRONES

CAESAR Mīrum est. Gaudēs eum exercitum relīquisse. Nōn gaudēs eum in cūstōdiam esse trāditum. Tamen utrum- que factum est tuā causā. Sī mihi dīcēs quid faciam ut duābus dē causīs gaudeās, libenter id faciam.

TERTULLA Quod exercitum relīquit, gaudeō. Sī eum cūstōdiā līberābis, iterum et multō magis gaudēbō.

CAESAR Es puella pulchra et callida, quās duās causās optimās esse exīstimō. CSternly] Appāritor, adulēscēns līberētur.

TERTULLA Uogyfully] O Caesar optime, tibi grātiās agō, grātiās agō maximās. [Caesar smiles upon her benignly as the curtain falks.

īs41 EXITUS HELVETIORUM EXITUS HELVETIORUM (The Departure of the Helvetians)

PERSONAE

SENEX, an old Helvetian (Scene ī)

MULIER I, his daughter (Scenes I, II)

PUELLAE, two little girls, her daughters (Scenes I, Il)

VīcīNa, a neighbor woman (Scene īj

VIrG6ō, a young Helvetian woman (Scene I)

HEeLvē Tīī I, II, and III, three Helvetian men (ī in Scenes II, III; II and III in Scene II)

MAcIsTRāTUS, a Helvetian official (Scene II)

MvUtLIERē;S II, III, and IV, three Helvetian women (Scene II)

Mīvrrēs I, II, III, IV, andV, five Roman soldiers (Scenes III, IV)

LABIENUS, Caesar’s lieutenant (Scenes III, IV)

PRAECō, a herald (Scene IV)

CAFĒSAR, governor of Gaul (Scene IV)

SILENT CHARACTERS, One of the little girls and one of the soldiers mentioned above; Helvetian women carrying bundles (Scene Iī)

PLACE: Helvetia and the banks of the Rhone

TimME: The spring of 58 n.C.

L56] EXITUS HELVETIORUM

SCENEI

The inside of a hut in a village of the Helvetians. A woman, Mulier I, is tidying up the room. Her two small daughters are sit- ting at a table. An Old Man, her father, is sitting at a distance, leaning forward with his hand holding his staff.

SENEX

CShaking his head] Utinam mors mē abstulisset antequam haec mala in domum meam inciderent. Mūtāta sunt omnia in Helvētiā nostrā Tempus erat cum hominēs ā prīmīs annīs ad senectūtem in agrīs et oppidīs suīs vīverent, sīcut maiōrēs anteā vīxerant. Sī nōn dīvitēs, tamen beātī erant. Antīquam illam Helvētiam dēsīderō. Novam hanc utinam nē vīdissem.

MULIER I Prandium est parātum, pater. Iam dūdum tē exspec- tāmus. Nōnne vīs ēsse nōbīscum?

SENEX UShaking his head without looking up] Nōn volō.

MULIER I Nōlī tam trīstis esse semper. Peius omnia fierī possent quam sunt. Mementō nōs omnēs adhūc vīvere, etiam sī vīvimus in paupertāte.

C571 EXITUS HELVETIORUM

PUELLA LAt the table] Quam diū morāberis, māter? Famem tolerāre diūtius nōn possumus. Dā nōbīs tandem quod

edāmus. MULIER I

Dēsistite paulisper, ut bonās puellās decet, dum avus

ad mēnsam adveniat. SENEX

Nōlīte diūtius mē manēre. Nōn venīō.

MULIER I

Est hoc quidem dūrissimum. Vir meus et fīliī ab- sunt ut cibum nōbīs parent. In montibus labōrant inter maxima perīcula. Sed gravissimum est iam patrem dē- spērāre. Edāmus, cāre pater. Nōnne vidēs ut puellae

tē exspectent? SENEX

Nihil dēsīderō. Edant sōlae, sī volunt. [The woman puts bowls with spoons before the children.

MULIERI

Edātis licet. Ego et avus posteā veniēmus.

[The children begin eating, while the woman begins sweeping the room. In a little while the door opens and a Neighbor wWoman comes in excitedly.

vVICINA Audīvistisne nūntium — novissimum? Eheu, nōs

miserōs! MULIER I

Quem dīcis nūntium? Quid accidit?

[s8] SCENE I

VICINA

Nōnne audīvistī? Viīcīnus noster, quī modo rediit ex

urbe, dīcit cōnstitūtum esse ut omnēs Helvētiī patriam

suam relinquerent, nēve quid sēcum portārent praeter frūmentum et aliās rēs quae necesse in itinere essent.

MULIER I

LShaking her head sadly] Est miserrimum. Putāvī Orge- torīge mortuō illud perīculum nōn iam timendum esse. Is erat auctor omnium miseriārum quibus oppressae sumus.

VICINA

Vērum est. Nihilō minus cēnstituērunt facere quod ille semper volēbat, ut relinquerēmus domum, agrum, caprās et vaccam nostram, quae per omnēs hōs annōs lac et cāseum praebuērunt. Cum haec prōpōnō animō, lacrimās tenēre nōn possum. CShe weeps.

MULIER I Est dūrum. Sed dūrius mihi vidētur caprās nōn habēre et sine lacte vīvere, sīcut nōbīs vīvendum est. Sī līberī nōn essent, innocentēs parvulae meae, bene contenta essem omnia relinquere, vītam etiam, sī hōc modō miseriīs līberārī possēmus.

[The children come to her and cling to0 her dress.

VICINA [Drying her gyes and sobbing] Tam bonās caprās, tam pulchram vaccam, quae semper sub eōdem tēctō habitā- bant, paene eiusdem familiae.

59] EXITUS HELVETIORUM

A Young Woman enters in cheerful excitement. As she dves so, the Old Man, who has sat silent till now, gets up, shaking his head, and goes out slowly, thumping with his staf as he goes.

vIRGO Nōnne vōs scītis quae nūntientur? Tandem, tandem facultās dabitur ex hāc miserā terrā proficīscendī.

MULIER 1 Tū quidem laeta es, quasi bona fortūna tibi ēvēnerit.

vVIRGO Rēctē dīcis. Bonam fortūnam nactae sumus. Ōmnibus Helvētiīs quam celerrimē ēmigrandum est. Neque hoc sōlum. Cōnstitūtum est ut omnia ignī crementur, domi- cilia, stabula, tōta oppida, ut novae sēdēs in novō agrō

aliquō quaerantur. VICINA

Tū es iuvenis. Tū nescīs quid sit patriam relinquere, ubi multōs annōs vītam ēgerīs.

vIRGO Nec sciō nec cūrō. Hoc tantum sciō, bonam fortūnam nōbīs datam esse, ut hanc dūram, parvam, miseram terram relinquāmus.

The Old Man comes back and stands in silence at one side.

MULIER

Sī hoc vērum est, diūtius nōn cūrō. Ēant rēs ut itūrae sunt. Sīve vīvēmus, ut fame pereāmus, sīve statim moriē- mur, minimē rēfert. (Wildly] Ferte ignem. Domum incendite. Posthāc cum bēstiīs in silvā habitābimus.

fēo] SCENE II

PUCELLA [The children have been looking on in wonder] Ubi autem mēnsās et lectulōs pōnēmus, sī in silvā erimus? Imber

omnia madefaciet. MULIER I

Hugging and kissing them. The young woman turns away in disgust] Nōlīte timēre, cārī līberī, dī fortasse nōs adiu- vābunt. Adhūc nōbīs cibum dedēre et vestīmenta. In futūrum quoque, sī eōs colēmus, nōs respicient.

SENEX CSuddenly, raising his hands, in a shrill woice] Hic est fīnis Helvētiae !

SCENE II

The camp of the Helvetians on the Rhone. A tent at the back of the stage with a bench beside it. Two Helvetians are sitting on it, one busy with the buckle on a belt, the other with the string of a bow. Another with an enormous mustache is walking back and forth, stopping occasionally, with his hands in his pockets. He speaks first.

HELVETIUS I

Dēfessus sum morandō, manendō, nihil agendō. Sī modo signum darētur prōgrediendī. Quōmodo novās sēdēs occupātūrī sīmus dum nihil agimus, ego quidem nōn intellegō. Sī ducēs nostrī minimam partem eius virtūtis habērent quam Rōmānī habent, iam per prōvin- ciam eōrum iter fēcissēmus, iam sēdēs nostrās in po-

testāte habērēmus. HELVETIUS II

[n a mocking tone] Tē hercule ducem esse oportuit. Tū autem nē cum militibus quidem fuistī eō diē quō impetum

61] EXITUS HELVETIORUM

fēcimus in vāllum Rōmānum. Nōn est tam facile iter facere per prōvinciam quam dīcere dē itinere.

HELVETIUS I1I Idem ego sentiō. Meīs oculīs vīdī mūrum quem ex- strūxerant. Prīmum erat flūmen trānseundum, deinde cōnscendendus mūrus, dēnique oppugnanda castella atque cum Rōmānīs ipsīs pugnandum. (70 Helvetius I] Sī tū id facere vīs, mora nōn est per mē quidem. Aggredere!

HELVETIUS I1 Omnēs vōs, ut mihi vidētur, terrōre tantō permōtī estis, ut fugiātis, sī modo Rōmānus trāns flūmen spectat. Un disgust] Pudet mē tālium cīvium. Servī Rōmānī estis, nōn Helvētiī. HELVETIUS II (Getting up angrily] Iam satis est. LShaking his fist at Hetvetius I] Id cavē iterum dīcās. Sī tibi nōn placet manēre apud Helvētiōs, haec [Fointing] est via ad castra Rōmāna. īre licet per nōs quidem.

HELVETIUS I Nōlī tam ferōx esse. Tū nōn sōlus es Helvētius. Dīcō vōs nihil tam bene posse quam fugere. CSarcastically]

Estis bonī miīlitēs! HELVETIUS III

Nisi tacēbis, reperiēs nōs multō melius posse fugāre quam fugere. CShaking his finger at Helvetius I.

HELVEĒTIUS I [Defiantly] Dīcō quod dīxī. Estis servī Rōmānōrum. Pugnāre neque vultis, neque potestis.

[ō2] SCENE II

HELVETIUS II Istud diūtius nōn ferēmus. Aut abībis tuā sponte, aut nōs tē abīre cōgēmus. HELVETIUS I Facite quidquid vultis. Ego manēbō tam diū quam mihi placēbit.

[He sits down on the bench and folds his arms. The others lay down the things they have been working with; each takes him by an arm and they push him off the stage in spite of his struggles. In a few seconds they return without him and take up their worā.

HELVETIUS 11 Iam, ut putō, habēbimus ōtium. īstum scelestum in vincula conicī oporteat.

HELVETIUS I111 Spērō eum numquam reditūrum esse. Satis est labōris et perīculōrum, etiam sī eius modī hominēs nēn adsunt quī nōs impediant. CA blast of the trumpet is heard in the distance.

HELVETIUS II Audī! Quid illud portendit?

HELVETIUS III Ego quidem nesciō.

HELVETIUS I1 CGetting up] Venī mēcum. Videāmus.

[They lay down their things on the bench and go out in the direction of the sound. When they are gone,

[65] EXITUS HELVETIORUM

HELVETIUS ī comes back stealthily, looking about to see if they are there. Then he puts on the belt and picks up the bow.

HELVETIUS ī

Dī perdant istōs praedōnēs! Reperient nōn sē sōlōs

esse fortēs. Hae rēs Holding up the bow and glancing at the

belt] magnō mihi erunt ūsuī. Tamen bonum cōnsilium

mihi dedērunt. Faciam quod iussērunt. ībō in castra

Rōmāna. Tum autem, CShaking his fst] amīcī meī, sī vōbīscum in proeliō congrediar, cavēte, cavēte.

[(VNodding his head significantly at these words, he sneaks off the stage. In a little while two women, MULIERI of Scene I and another, with the two Little Girls, come in and sit down on the bench to sew. The girls amuse themselves with their playthings, which they set up in the middle of the stage.

MULIER 1 Looking over a garment] Numquam vīdī vestīmenta tam celeriter scissa et cōnfecta. Nūlla iam est pars quae pannīs nōn sit obsita.

Holding up the garment, which is patched and full of holes. MULIERI1I

Mea nōn sunt meliōra. [Holding up hergarment for inspec- tion] Vidē. Hoc dīcō: vehementer mē paenitet Helvētiam

relīquisse. MULIER 1

Quid facerēmus? vVirī cōnstituunt ut omnēs exeant. Mulierēs numquam rogantur quid velint. Pārendum est, sequendum est. Haec est fortūna fēminārum. Laying

[64] SCENE II

aside the garment, calls to one of the girls] Adī iam, fīlia, ut tibi quoque pannum adsuam.

[The girl comes and stands by the woman, who mends

at her dress. MULIER II

Mīror quod nōndum audīvimus dē lēgātiōne quae missa est ad Dumnorīgem. Nūdius tertius iam abiērunt. Ēheu, quam metuō cōgitāns hanc esse spem nostram ultimam. Sī haec dēficiet, nihil est reliquum quod spērēmus.

f

MULIER I Nōlī dēspērāre. Tū es bonā aetate. Tua vīta adhūc vīvenda est. Nōn sunt omnia tam trīstia quam esse videntur. Vidē mē, prōvectam paene ad senectūtem. Multa perīcula sustinuī, multōs labōrēs exhausī. Tamen adhūc vivō. Bonus deus aliquis mē adhūc cūrat.

MULIER 11

Potest esse ut dīcis. Vērum hoc nōn exspectāvī cum tam cupida essem domō proficīscī. Numquam putāvī fore ut tēctō tam diū carērēmus.

A pompous, corpulent Official with a staff comes strutting in. Seeing the playthings in the street, he fares up.

MAGISTRATUS (Pointing at the playthings] Hem, quid hoc est? Nōnne vōbīs ēdīxī ut līiberī continērentur nēve rēs eōrum per

viās sternerentur? MULIER I

Nēminī nocent parvulae, nēminī sunt inpedīmentō. Cūr eīs nōn licet lūdere? Sunt satis miserae sine ēdictō tuō.

[6s] EXITUS HELVETIORUM

MAGISTRATUS [Dictatorially] Dīxī quod dīxī. Hae rēs āmoveantur. Haec sunt castra. Nōn estis in lūdō. Puellīs nōn est locus in viā. MULIER II

Undignantly] Quasi nōn sīmus omnēs Helvētiī, nōn virī

sōlum, sed fēminae et līberī! [He pays no attention to her and struts on pompously, as he came. The girls have meantime picked up

some of their things, whick they have in their arms. As they do so, two other Helvetian Women come in.

MULIER 1III

(Woalking rapidly half way across the stage and shaking her fists after the offcial] Mōnstrum! Utinam tē sub manibus meīs habērem ! LGrasping in the air with her hands] Nōn ita tē gererēs. CSarcastically] Bonā fortūnā fruimur nōs Helvētiī, dum tantās iniūriās patimur. lPatting one of the girls on the head] Nē timeās, puella mea, pōnere licet rēs

tuās in viā, sī vīs. [Helping them put the playthings on the ground.

MULIER IV CShe has seated herself with the other women] Iam multō diūtius in hōc locō manendum nōn erit.

MULIER I1 Spērō ita fore ut dīcis. Cūr id putās?

MULIĒR IV Audīvīi lēgātiōnem rediisse ā Dumnorīge.

ee] SCENE 1I

MULIER II Hocine audīvistī? Quid dīcunt? Licēbitne iter facere

per Haeduōs? MULIER IV

Sine dubiō. Dīcitur enim magistrātus imperāvisse ut omnia parārēmus, quō celerius castra movērentur.

MULIER III [Looking up from the chilāren] Dīcitisne dē proficīscendō? Spērō illud aliquamdiū nōn fore. Mihi placet in hāc re- giōne manēre. Hīc est flūmen, illīc Ccinting] sunt montēs. Praetereā nōn est perīculum, meā sententiā Dum per prōvinciam nōn eāmus, Rōmānī nōs nōn impedient. MULIER I1 Est mīrum quod dīcis. Putāvī omnēs libentius in suīs sēdibus esse quam in itinere, ubi imbrem, frīgus, inopiam patiuntur.

Enter several Women carrying big bundles; they cross stage.

MULIER IV Illae iam parātae sunt. Proficīscēmur sine dubiō. [Rising to go] Nostrās rēs quoque parārī oportet.

MULIER I LAlso rising] Facile parābuntur quae nōs habēmus. Nam

pauca sunt. MULIER IV

Spērō cum iterum cōnsistāmus, id fore in sēdibus nostrīs.

MULIERI (70 the Girls] Venīte, puellae.

[They are picking up their things, assisted by Mulier II1, when the curtain falls.

[61] EXITUS HELVETIORUM

SCENE III

The Roman camp on the Rhone. Two Roman Soldiers are sitting on a bench before a tent. A third, Mites III, is lying on the ground asleep; he is ugly, with scars on his face.

MILESI (Vauning and stretching his arms] O dulce ōtium! Hanc

vītam laudō. MILES II

Adicere dēbēbās: post labōrem. Dulce ōtium post

gravissimum labōrem. MILES I

Idem ego sentiō — post labōrem. EĒrat vērō labor, per diem, per noctem, sine intermissiōne. Nihil audīvimus nisi: “Mātūrāte, mīlitēs, opus est cōnficiendum. Adsunt hostēs.” Duodecim annōs iam stīpendia faciō, tanta opera tam brevī tempore cōnfecta numquam vīdī.

LABIENUS, followed by two Soldiers walking abreast, marches across the stage. Mit©Ēs I and IlI rise and salute, then sit down again. The sleeping soldier turns on his side so that he faces them, and takes a long breath. As he does so, his garment falls off his neck, exposing several gold chains.

MILES I [Pointing] Ecce, quid habet amīcus noster pendēns dē

collō? [HAe goes to him softly, and cautiously unfastens the chains. They examine them.

. MILES II Mīror unde hic praedam suam cēperit. Catēnās aureās! Mēohercule, hae non sunt nātae in castrīs.

Los] SCENE III

MILES 1

Sunt pretiōsae. Nec sunt factae ab artifice Rōmānō. Aut Gallicae sunt aut Helvēticae, nisi fallor.

MILES 11 Videāmus num catēnās suās dormiēns cognōscat.

(He rattles them at the sleeping mans ear. The latter wakes up, stares about him, then gets up and feels for the chains at his neck.

MILES 111 Vot finding the chains] Fūrtum! Quis catēnās meās abripuit? USeeing them in their hands] Quid vōbīs est cum meīs rēbus? Reddite quod non est vestrum. [Holding out his hand. MILES I Quod nōn est vestrum! Hoc nōs decet tibi dīcere. Unde hās cēpistī? Aut ostende ubi praedam tam pretiō- sam invēnerīs aut hanc nōbīscum partire.

MILES III Quid vōbīs venit in mentem? Sī placet ioculārī, in aliō homine vōs id facere mālim.

MILES I Hoc autem prius dēmōnstrandum est, ubi eius modī

catēnae lateant. MILES III

Incidī in puellam quandam in proximō oppidō, quae mē amat. Ab eā catēnās accēpī.

C69] EXITUS HELVETIORUM

MILES II (Laughing] Vērius est dīcere senem aliquem cum uxōre tē necāvisse atque domum eōrum dīripuisse. Puellane tē amet? Nihil est magis rīdiculum. Id numquam crēdēmus.

MILES I

[Putting a chain around his neck, Ēisses his hand to Miles llI]

Grātiās agō, puella mea, tum quod mē amās, tum multō magis quod mihi tam pulchram catēnam dedistī.

MILES II

[Doing likewise] Grātiās agimus. Es bona puella. Sem- per nōs amā. Nōs semper tē amābimus et catēnās tuās. [Xissing the chain about his neck.

MILES III Per deōs vōs obtestor, nē lūdibriō mē habeātis. Reddā- tis quod est meum, ut estis bonī hominēs et fortēs mīlitēs.

MILES I Nōn ita, sed eāmus ad lēgātum. Ille iūdex erit et dē catēnīs et dē puellā. Miles I and Miles II go out. MILES III

(As he follows them out, pleading] Reddātis, reddātis, semper vōbīs amīcus erō.

A short time after they are gone, enter LABIENUS with a soldier, Miters IV. He sits down.

LABIENUS Ubi est trānsfuga? Addūcātur. [The soldier salutes and goes out. Labienus alone] Est sine dubiō Helvētius aliquis, fame cōnfectus, quī cibum quaerit in castrīs Rōmānīs..

C7o1 SCENE III

MiLesS IV, together with another soldier, MīLēS V, brings in HELVETIUS I, whose hands are tied before him. He has on the belt of Scene II. LABIENUS speaks without looking at him.

Ubi hunc cēpistis?

MILES IV Ad portam decumānam.

LABIENUS Quid agēbat? MILĒS IV Nihil quod nōs vidērēmus. Hunc arcum CShowing the bow of Scene II] habēbat, nūllās tamen sagittās. Neque sē dēfendit cum eum comprehenderēmus.

LABIENUS Satis est. CRoughly, glancing at the Helvetian] Barbare, sī quid prō tē vīs dīcere, licet. Mihi vidēris esse Helvētius.

HELVETIUS I n a surly tone] Eram Helvētius, iam nōn sum. Cum istā turbā latrōnum diūtius vīvere nōlō, quī honestum virum inrīdent et impediunt.

LABIENUS Quō tempore eōrum castra relīquistī?

HELVETIUS I Eā nocte quā profectiōnem parāvērunt.

LABIENUS (Tuming to him with new interest] Dīcisne eōs profecti-

ōnem parāvisse? HELVETIUS ī

Ita dīxī. C71] EXITUS HELVETIORUM

LABIENUS Iamne profectī sunt?

HELVETIUS I Sine dubiō. Nam vehementer proficīscī cupiēbant.

[Labienus beckons to Miles IV and speaks to him in a low voice, pointing and gesturing meantime. The soldier nods and goes away rapidly in the direc- tion indicated.

LABIENUS [75 the Helvetian] Quid tibi est in animō facere ad castra

Rōmāna? HELVETIUS I

Parātus sum labōrāre. Faciam quidquid imperābitis.

LABIENUS Quid putās faciendum esse sī nōbīs īnsidiās parāverīs?

HELVETIUS 1 Interficite mē, lacerāte, torquēte. Facite quidlibet.

LABIENUS

(70 Miles V] Abdūcātur atque līberētur. Observētur tamen. Sī quid faciat, nisi quod ipse dīxit, coniciātur in vincula. (7he soldier leads the Helvetian away. Labienus, rising, speaks to himself] Profectiōnem parant Helvētiī. Haec profectiō prohibenda est. CNodding several times] Caesar nōndum rediit. Tamen faciēmus quod poterimus sōlī.

[72] SCENE IV

SCENE IV

The Roman camp on the Rhone, as in Scene III, with two soldiers, MiLES I and II. The former is sitting on the ground turning a hand mill. The other is feeding the fire in an improvised stove. On it is a pot, into which he pours things and stirs them with a spoon.

MILES 1

LStops grinding] Iam dēfessus sum. Diēs alter veniet,

quō iterum laborēmus. MILES II

[Zooking into the vessel containing the meal] Nōn satis est. Hoc ego sōlus comēsse possim.

MILES I

Sī non placet quod faciō, tibi ipsī licet facere. Semper

quereris. CGetting up, kicks the mill. MILĒS II

Lēniter, sōdēs. Petō nē statim īrāscāris, sī quid dīcō. CStirring the pot] Semper fuimus amīcī. Quod meum est, tuum est. Nihil est quod sōlus habeam.

MILES I Un a surly tone] Sī amīcus es, ut amīcum tē agere

oportet. MILES II

Sum vērō amīcus tuus, tū es sodālis meus, tū es fami- liārissimus omnium. CSlapping him on the back. The other grunts] Iam edāmus.

(He dishes out portions with a spoon into bowls. Then he makes Miles I sit down, gives him a bouwl, sits by his side with his arm about him, and begins to

731 : EXITUS HELVETIORUM

eat. Before long Miles I begins to eat also. While they are eating, MiLITES IV and V enter with MILES II1, bound with chains, between them and pass across the stage. When Miles III sees Milites I and I1, he shakes his fist at them, making his chains rattle.

MILEĒS ni1 Dī vōs perdant, scelestī, īnsidiātōrēs, praedōnēs, im- probī, quī mē amīcum appellātis et estis inimīcissimī. (The soldiers pull him along roughly while he is still shaking his fist and talking. MILES 1 Amīcus noster iam catēnās ferreās habet, et maiōrēs

quam aureae erant. MILES II

Iste latrō! Aureās fūrātus est sine dubiō. Tālēs hominēs sunt indignī nōmine Rōmānō. [The two continue eating, and presently a long blast on

the trumpet is heard. They look up and listen. Another blast is heav4.

MILES 1 Cūr tubā canitur? MILES II

(Ēxcitedly] Imperator — imperator intrat castra. [Ae gets up, gesticulating] Caesar rediit. Mēhercule, tam brevī tempore eum nōn exspectābam.

Enter PRAECO, walking rapidly straight ahead; after a step or tuo he stands still.

PRAECO (Crying his announcement without turning or looking about] Audīte, omnēs mīlitēs! Audīte quod clāmātur! Caesar

[74] SCENE IV

rediit cum legiōnibus. Iubet omnia parārī sine morā ad profectiōnem.

UHe walks straight on and in a minute or two, while the following takes place, is heard making the same announcement in the distance. The tuo soldiers begin packing their clothes into bundles, tying to- gether their utensils, rolling up blankets, etc. All this is done rapidly while they talk.

MILES 1 Ille scit imperāre! Vix castra intrāvit, iam omnēs sē parant ad iter faeiendum.

MILEĒS Il Ita. Neque diū erit in itinere. Paucīs diēbus Helvētiōs cōnsecūtī erimus. Deinde eōrum vīta erit minimī pretī.

MILĒS 1 Tālem imperātōrem sequī placet, cum sciās, sī pugnē- mus, nōs victōrēs fore. MILEĒS Iī

Bene accidit ut iam cēnāverīmus. Nisi hoc esset, fierī posset ut per tōtam noctem iter facerēmus sine cēnā.

MILES 1 Putāsne nōs ante noctem profectūrōs esse?

MILES 11 Nesciō. Tamen omnia parārī nōn iussisset, nisi pro-

ficīscī cōnstituisset. MILES I

Quod ad mē attinet, proficīscātur. Parātus sum. [Lifting his pack to test it.

L751 EXITUS HELVETIORUM

MILES II Et ego.

[The curtain is draun. A trumpet begins to blow in the distance meantime, and continues, drawing nearver. When the curtain rises again, CAESAR and LABIENUS are seen standing on a platform a foot or tuo high, with soldiers standing all about. The trumpet stops, and Caesar speaks.

CAESAR

Tandem rediī, mīlites. Ut mihi nūntiātur, Helvētiī manibus nostrīs paene ēlapsī sunt. Per Sequanōs et Haeduōs īre contendunt. Id fierī nōn potest sine perīculō populī Rōmānī. Quārē eōs ab itinere prohibendōs cēnseō. Rediī cum quīnque legiōnibus aliīs. Hārum auxiliō facile erit eōs cōgere imperiō populī Rōmānī obtemperāre. Parātī este. Intrā duās hōrās proficīscēmur.

[(The soldiers raise their swords in the air and sheathe them again. Then, as the trumpet sounds, they begin marching off past him, tuo abreast, at left. They pass around behind the stage, or behind a screen at the back of the stage, and fall in line again at right, thus giving the impression of a very long line. The trumpet is blowing a march, while Caesar stands with Labienus, looking on. The marching is stili in progress when the curtain falls.

0761 CICERO CANDIDATUS CICERO CANDIDATUS (When Cicero was Candidate)

PERSONAE

PāsīōrĒS 1 and II, two shepherds (Scenes I, III, IV).

AGRICOLA, a farmer (Scenes I, III, IV).

MEssōrēs I, II, and III, three young harvesters (Scenes I, IIī, IV).

SERVAE I and II, two women, servants in Cicero’s country home (Scene I ).

HELVIA, Cicero’s mother (Scene II).

CICERō, candidate for the consulship (Scenes II, III, IV).

Cōpra, a woman keeping an inn (Scenes III, IV).

CALvA, a young girl, her servant (Scenes III, IV).

MvutIerēās I, II, III, three women of Arpinum (Scenes III, IV).

SENEX, an old man (Scenes III, IV).

ADULEĒSCENTES RōMāNī I and II, two young men from Rome (Scenes III, IV).

VirRGINĒS RōMāNAE I and II, two young women from Rome (8cenes III, IV).

TUREA, people attending Cicero and in his audience, including the shepherds, the farmer, the harvesters, the innkeeper, her serv- ant, the old man, the young and old women of Arpinum, and, in Scene III, the two young men and two young women from Rome.

VirciNĒSs ARPīNRTĒS I, II, and III, three young women of Arpinum (Scene IV).

MENDīCA, a beggar woman (Scene IV).

PLACE: Near and at Arpinum.

TiuE: 64 B.C.

[78] CICERO CANDIDATUS

SCENEI

The country near Arpinum. Two shepherds in sheepskin cloaks, with crooks in their hands.

PASTOR I [Coming in guickly] Tandem tē invēnī, sceleste. Tū es ille quem quaesīvī. CPointing at him] Tū! Audīsne? Tū!

PASTOR I1 Quid mē vīs? Cūr hercule facis tantum tumultum?

PASTOR 1 Cūr faciam tumultum? Quasi tū nesciās. Em, hic bonus vir nescit, numquam vīdit, numquam audīvit, quis caprum meum abstulerit. Dī bonī, crēdō tē numquam caprum vīdisse in tōtā vitā tuā ō, mihi ignōsce [with a mock bow], tū nōn es pāstor, tū es senātor, es cōnsul, es imperātor, es rēx rēgum. PASTOR 11 Tū autem, nisi fallor, hominem invēnistī quī bonum vīnum vēndit. Moneō ut corpus tuum pōnās sub arbore aliquā et hōram ūnam aut duās dormiās. Tunc fortasse melius dīcere poteris quid velīs.

PASTOR I lAngrity] Latrō, ubi est caper meus?

[791 CICERO CANDIDATUS

PASTOR I1 Caper tuus? [Laughing] Tū habeās caprum? Tū es mercenārius, es servus dominī tuī. Nihil habēs, neque caprum, neque ovem, neque agnum, neque gallīnam quidem.

PASTOR I

Sum mercenārius fortasse, sed nōn sum latrō, nōn sum fūr, nōn caprōs aliōrum hominum auferō. Cum fēcī ali- quid, nōn dīcō mē nihil fēcisse, sīcut tū facis. Dominus meus faxō dē hāc rē cognōscat, hoc tibi dīcō. Tum vidēbimus utrum tū caprum redditūrus sīs necne.

PASTOR I1 Dīc dominō tuō quidquid tibi in mentem veniet. Ille tē bene cognōvit neque tibi magis crēdet quam sī tū nihil dīxerīs. Tamen hoc mementō, mē quoque habēre domi- num, quī contrā tē et tuum et omnēs tuōs et tōtam familiam vestram bene scit sē dēfendere.

PASTOR I [Disgusted and angry]l Cūr tandem nōn tacēs? Taedet mē istum clāmōrem audīre. (Louder] Caprum volō, nōn

verba tua. PASTOR II

Est ut dīxī. Dum nihil vidēbās, et nihil audiēbās, et nihil faciēbās, nisi vīnum bibēbās, caprōs tuōs male numerāvistī. Sī mē cōnsulēs, dormī, amīce, dormī. Deinde iterum numerā caprōs tuōs. Numerus fortasse est maior quam putābās. Interim valē CSlapping him on the back with his crook], et valeat dominus tuus.

[Xnocks the others crook out of his hand and runs away.

[80] SCENE I

PASTOR I LPicking up his crook, pufīng and shaking his fist] Redi tū, sī audēs. Addūc dominum, addūc omnem familiam, sī grānum fortitūdinis in corpore habēs. Addūc omnēs, inquam, sī pugnāre volunt. Ego vōs cōnficiam [Waving his crook], ego vōs cōnficiam, ego vōs —

AGRICOLA

[Ēntering] Eho, quis est ille quem tū cōnficere vīs? Num quis tibi iniūriam fēcit?

PASTOR 1 Iniūriam fēcit? Caprum mihi abstulit iste fūr, iste latrō, iste scelestus, iste — UShaking his fist] iste —

AGRICOLA Dēsiste tandem. Iam abiit et caprōs abēgit. Haec rēs

aliō diē tam bene cūrābitur quam hodiē. Cūr hoc nōn

dīcēs dominō tuō? Ille sibi caprum recipiet sine morā.

PASTOR I Caprum recipiet? Satis sciō quōmodo. Baculum meum prehendet et mē tam diū verberābit dōnec nesciam an ipse caper sim. Sī tū dominum meum nōssēs, id nōn dīcerēs.

AGRICOLA Age, satis iam de dominō. Pereat caper! Vidēsne vesperum adesse? Tempus est ut caprōs domum agās. Deinde venī mēcum in oppidum. Ibi sunt multī hominēs. Ut dīcunt, Cicerō aditūrus est ut habeat cōntiōnem. Petit cōnsulātum atque amīcōs et vīcīnōs patris suī ōrat ut

[ē1] CICERO CANDIDATUS

comitiōrum diē Rōmam veniant. Eōrum auxiliō spērat sē fore cōnsulem. Est iam clārus homō in urbe Rōmā. Sed

hīc est nātus. PASTORI

Ita. Saepe eum vīdī cum parvus esset. Bellus puer erat et mānsuētus. Ego quoque spērō eum fore cōnsulem. Clārus erit ille diēs cum domum redībit cum duodecim

līctōribus. AGRICOLA

Age modo. Dīcunt eum ante noctem adventūrum. Sī properābis, cum comitātū eum per viam euntem vidēre

poterimus. PASTOR I

Manē paulisper. Postquam caprōs domum abēgerō, tē

ad pontem conveniam. ] AGRICOLA Ibi tē exspectābō. [They go away.

Enter three Harvesters with sickles in their hands. They are going in the same direction as those who have just left the stage. One of them, MEssor II, is limping behind.

MESSOR I Properā, Sexte. Celerius non ambulās quam testūdō. Nisi pedibus tuīs vim iniciēs, neque rem neque hominem ūllum vidēbimus. Certō sciō Cicerōnem et omnēs cēterōs iam praeteriisse et in oppidō esse iam diū.

MESSOR I1I Celerius īre nōn possum. Dolōrem capiō ē dextrō pede. Crēdō aliquid inesse in calceō quod mihi dolet.

MESSOR I11 Abī, nihil habēs in calceō. Stultitiam habēs in corde.

[ē2] SCENE II

MESSOR 11 Manēte, precor, dum videō quid sit in calceō meō. C(Sits down to take off his shoe.

MESSOR I11I Si tū remanēre vīs, remanē. Nōs ībimus. Vidēre volumus quid accidat in oppidō. valē.

[MEssOr I and MEssor III go in the same direction as Agricola. MESSOR 11

lPausing] Hem, iam abiērunt. (7b the audience] Vidistisne umquam tālēs amīcōs ? Sī quid est quod eīs faciat incom- modum, etiam sī optimus eōrum amīcus mortuus sit, sī pater, sī māter, sī fīlius et fīlia gravissimō morbō adfici- antur, tamen abeant. Sed mihi necesse est vidēre quid hoc sit in calceō meō. LPulls off his shoe and takes out a stone]

Pol, nōn est mīrum sī dolet pēs, cum tālī lapide.

[HAe throws it away, and limps off the stage, carrying his shoe in his hand.

SCENE II

The atrium of CICERO’S country house near Arpinum. Two maid- servants are engaged at putting the room in order while they speak.

SERVAI Quandō dīcunt dominum adventūrum?

SERVA I Nesciō, nisi quod scrīpsit crās sē ōrātiōnem habēre velle Arpīnī in oppidō. SERVAI Hodiē igitur ante noctem hūc in vīllam perveniet.

[35] CICERO CANDIDATUS

SERVA II Veniat modo ante noctem. Nam vigilāre ad mediam

noctem nōlō. SERVAI

Id erit necesse sine dubiō. Tōta domus, tōta familia vigilābit dum veniat. Hoc domina ipsa imperāvit. Scīmus omnēs quam dīligēns, quam sevēra sit.

SERVA II

Ita semper fuit. Ōmnia prōvidēbat et cūrābat, cum

dominus senex adhūc vīveret. Multōs annōs enim propter valētūdinem ipse paene nihil agere poterat.

SERVAI

Meminī tōtōs diēs eum mānsisse in cubiculō suō. Tamen semper librum aliquem habēbat in manibus. Semper legēbat, postquam in lectulō iacēre coāctus est. Meā sententiā tam adsiduē legēns sibi ipse et valētūdinī

nocēbat. SERVA II

Ita. Diūtius vīvunt eī quī librōs nēōn tractant.

Enter HELVIA, Cicero’s mother, looking about the room.

HELVIA

Suntne omnia parāta? Agite, properandum est. Nam puer mihi nūntiāvit ā summō colle sē hominēs vīdisse hūc venientēs. Nōn dubitō quīn sit fīlius meus cum comitātū suō. Brevī tempore aderunt. [lValks about the room, examining things and giving directions] Haec sella ibi pōnenda est. [Points to a place, and Serva I moves the chair to it. Then Helvia unlocks a cupboard] Ubi sunt pōcula?

[384] SCENE II

SERVA II Sunt in culīnā. Ea nōndum adportāvī.

HEĒLVIA Adportanda sunt omnia. [Serva II goes out.] Suntne cubicula parāta? Nōnnūllī hominēs adventūrī sunt, quibus

hospitium praebēbitur. SERVAI Sunt parāta omnia.

SERVA II returns with the cups and puts them in the cupboard, which HELVIA locks immediately. SERVA II Adpropinquat dominus, ut dīxit puer. Iam ante portam

est. HELVIA

Ante portam? Id ipsa vidērō. [Coes out.

CICERO lOutside] Salvē, salvē plūrimum, mātercula mea. Quid

agis? HELVIA

[Outside] Et tū salvē, mī fīlī, gaudeō, gaudeō tē advēnisse.

Enter HELVIA and CICERO hand in hand, looking at each other fondly.

Ut mihi vidētur, paene factus es senex. Rōmae nimis labōrās. Sine dubiō dēfessus es. Iam autem quiēscere licet. Haec est sella patris tuī.

CICERO Uesting] Errās, mātercula mea. Nōn sum dēfessus, neque senex. Puer fīō cum tē videō. Tū cōnsīdās,

[35] CICERO CANDIDATUS

quaesō. [He makes his mother take the chaii, and, turning to look for another, sees the servants] Salvēte ambae. Ōmnēs incolās salvōs esse videō in patriā meā.

SERVAE [As Cicero shakes their hands] Salvē multum, domine. [One of them places a chair for him beside his mother.

CICERO USitting down] Iam, mātercula mea, dīc quid gestum sit mē absente. Multa audīre cupiō.

HELVIA Nēndum mihi tempus esse vidētur nārrandī. Sciō post tam longum iter te esse fame cōnfectum. l76 the servants] Parāte cēnam sine morā. [The servants go out.

CICERO

Iam vērē loqueris, mātercula. Ut dīxī, puer factus sum, et puerī meministī fortasse quantum ēsse possint. [Helvia goes to the cupboard, unlocks it, and begins rearranging things in it. Cicero gets up and stands by, watching her] Tem- pora mūtantur nec nōs mūtāmur in illīs. Es semper eadem, mātercula mea. Meministīne quōmodo lagēnās inānēs obsignāverīs ūnā cum plēnīs? Dicēbās id tē fēcisse nē servī eās exsiccārent. Oblīta erās eōdem modō tē fīliēs tuōs prohibēre. Tē cūstōdem aerārī esse oportuit, mātercula. Tum esset tūta pecūnia pūblica.

HEĒLVIA Laughing] īdem es ioculātor quī semper fuistī. Putāvī hominem quī cōnsulātum peteret cum gravitāte sē gerere dēbēre. se] SCENE III

CICERO Iterum errās, mātercula. Hīs temporibus, quō magis ioculēris, eō mātūrius cōnsul fiās.

HELVIA Id nōn crēdō. [Cicero laughs.

SERVAI lEntering] Cēna est parāta, domina.

CICERO [Clapping his hands] Hanc vōcem ante omnia audīre cupīvī. Iam eāmus, mātercula.

[Takes Helvia by the arm and goes with her towara the door, following the servant, as the curtain falks.

SCENE III

The public square of Arpinum on the following morning. At the right a small table with chairs. At the left, projecting from the wall, is the pipe of a fountain, with steps below.

Enter CoPA from behind the table.

COPA

(Cathering up dishes from the table and rearranging chairs] Numquam tanta multitūdō hominum in hōc oppidō fuit meā quidem memoriā. Ōmnia comēdērunt, vīnum omne combibērunt. [Holding up a bottle to show it is empty] Nōn querar tamen. Nōbīs sunt ūsuī, dummodo pecūniam habeant. [Calling into the door of the inn] Calva! Calva! (After a pause] Ubi est ista puella? (Louder] Calva!

CALVA (Coming out] Quid viīs, domina?

[37] CICERO CANDIDATUS

COPA LMocking her] Quid vīs, domina? Nōnne vidēs quae sunt in hāc mēnsā? Auferenda sunt. Id volō.

[Calua begins gathering up things and carrying them away, followed by Copa.

Enter three Women uwith jars or pails on their heads, and stop at the fountain, taking turns at filling their vessels while

they talk. MULIERI

Audīvistisne iam dē vīcīnō nostrō’?

MULIER II Nōn audīvī. Dīc nōbīs quid sit.

MULIER I Cognōvistis illum sānē, senem iam septuāgintā annō-

rum. MULIER II

Bene. Cum patre meō fuit in lūdō, cum puerī essent.

MULIERI Looking toward the entrance] St!1 Tacēte, tacēte. Ut dīcunt, lupus in fābulā.

Enter a tottering Old Man, with a staff and wearing a garland on his head; he walks slowly across the stage.

(IVhen he comes opposite, MULIER I addresses him saucily] Salvē,

pater. SENEX

LWith a bow, in a shrill voice] Salvēte, fīliae.

(While the women are whispering to each other behind his back he walks out slowly, as he came in.

rss] SCENE III

MULIER III CWhen he is gone, to Mulier I] Quid nārrātūra erās dē hōc vetulō? Quid eī accidit?

MULIER I Nihil accidit. Ut vidētis, nōndum mortuus est. Nē morbō quidem labōrat, nisi amor morbus est.

MULIER II Hicine amet? Quam mulierem? Tālem senem, ex temporibus maiōrum, illum antīquum hominem amāre?

MULIER I Est rīdiculum. Dīcunt eum puellam in mātrimōnium

dūcere velle. MULIER III

Est vērē rīdendum. Nihil est in orbe terrārum quod hominēs nōn faciant, sī amant. Sed quae est illa quam

dūcere cōnstituit? MULIER I

In hāc rē ostendit senex quam rīdiculus sit ipse. Nam puellam sēdecim annōrum dūcere vult.

MULIER Il Laughing] Vēr et autumnum coniūnctōs vidēbimus. Senex cānō capite et puella quae pūpās vix relīquerit. Ex hōc mātrimōniō nihil bonī exspectō.

MULIER III Id nōn dīxerim. In tālī rē nōn semper coniectūram

facere licet. MULIER I

Etiam sī sunt eādem aetāte, nē hoc quidem semper facit mātrimōnium beātum.

[39] CICERO CANDIDATUS

MULIER III

Vērum est. Tamen senex avus puellārum, nōn marītus esse dēbet, meā sententiā. Quid videō? (Looking toward the entrance] Quī sunt omnēs illī hominēs quī per viam

hūc veniunt? MULIER II

Nōnne tū audīvistī Cicerōnem advēnisse, quī hōc annō cōnsulātum petit, quī hodiē cōntiōnem habitūrus est nostrō in oppidō?

MULIER III Quem Cicerōnem? MULIER II

Eum quī praedium habet nōn longē ab hēc locō.

MULIER III Nōvī neque hominem neque praedium.

MULIER II

Oblīta sum tē hīc nōn diū habitāvisse. Erat bona familia illa, pater et māter cum duōbus fīliīs, ē quibus hic M. Cicerō est maior nātū.

MULIER I

[ZLooking up the street] Ut mihi vidētur, rē vērā laetī sunt hominēs propter eius reditum. Vix prōcēdere potest, tam cōnferta eum circumstat turba.

TURBA CShouting behind the scenes] Salvē Cicerō! Salvē Cicerō!

MULIER II [Pointing] Iam prōcēdunt. Iam nōs quoque eum vidēre poterimus.

L90] SCENE III

CICERO and the Crowd come upon the stage. The women who spoke above remain where they are. Among those following CICERO Qare all the characters of Scene I, and others, as in- dicated in the Personae. The Shepherd and the Farmer stand at the edge of the crowd, where they can be seen by the audience. CICERO I5 Ssmiling, bowing, and shaking hands as the crowd moves around him.

PASTORI Est quidem bonā speciē et splendidissimā togā indūtus est. CPoints, and they both nod hard and seriousb. AGRICOLA

Tālēs togās nēmō in nostrō oppidō habet. [Points, and they both shake their heads hard and

solemnly. PASTORI

Diū iam Rōmae habitat. Sine dubiō magnam pecū-

niam habet. UBoth nod as before. AGRICOLA

Sine dubiō. [They nod again. PASTORI

[Tvuching his fellow on the elbow] Est grandis vir.

[They nod. CICERO

[Continues to shake hands and addresses a few words to the individuals] Salvē, mī amīce — Tē et patrem tuum bene cognōvī — Vīvitne adhūc māter tua?

TURBA. i (The crowd gradually pass on, and leave the stage at the opposite side. As Cicero follows, shouts are heard behind the

scenes] Salvē Cicerō! Salvē Cicerō!

7wo young men aand tfuo young women from Rome, all neatly and carefully dressed, turn back as the

[9r] CICERO CANDIDATUS

crowd disappears, and sit doun around the taōble. The women at the fountain walk away with their water meantime. ADULESCENS ROMANUS I CRapping on the table] Cōpa! Cōpal (The other three laugh at him.

ADULESCENS ROMANUS II Ego tibi ostendam quōmodo cōpa vocanda sit in hōc oppidō. [He gets up, pounds the table with a stick, so that the young women shrink back, and calls with all his might] Cōpa! Cōpa! Utbi es, cōpa?

Enter CoOPA running.

COPA (Droppinug a curtsy and smiling] Quid iubētis?

VIRGO ROMANAI CSternly] Cōpam semper adesse oportet, ut statim parāta sit hospitium praebēre. [Copa curtsies and smiles.

ADULESCENS ROMANUS 11 [n a loud voice, as before] Nōs sumus fame cōnfectī. Tōtō hōc diē nihil ēdimus, nihil bibimus. VIRGO ROMANA 11

Tam miserō in oppidō nihil est quod urbānīs hominibus

sit idōneum. VIRGO ROMANA I

2Quid habētis? COPA (Curtsying and ingratiatingly emphasirging each word with a smile] Habēmus ōva, cāseum, vīnum, pānem. Sunt omnia

bona.

[92] SCENE III

ADULESCENS ROMANUS I [Whearily] Adferantur omnia celerrimē. Audīsne? Celer- rimē! [Copa goes quickly.

ADULESCENS ROMANUS IIl [Mocking her] Ova, cāseum, vīnum [Making a ury facel, pānem, [Beginning to show interest and touching his neighbor on the shoulder, as if surprised at the discovery] pānem, habent pānem. (They all laugh.

CALva shyly brings a loaf of bread on a tray, with which she stands a short distance off-

ADULESCENS ROMANUS II Heus, puella, pānem adfer. [Calva sets the tray on the table and goes out. Adulescens I7 takes the loaf, rises, and holds it up] Pānem — pānem. (7hey laugh. He breaks the loaf ostenta- tiously, giving each a piece, and saying each time] Pānem. Hōc in oppidō edunt pānem. [They laugh and begin to eat.

The Copa comes out with a large tray containing the other things. This she holds while the young women take them off, one by one, and set them on the table.

ADULESCENS ROMANUS II (Still standing, with an exaggerated gesture and a loud voice, as each article is placed on the table] Oval! Cāseum! Vīnum!

TThen as the Copa starts to go, he stands in her way, and when she tries to dodge him, does so again, holding out his arms to keep her from going past

vthim. The others of the party laugh and come to join him, and they form a circle about her by grasping hands. Thus they dance around her, the

C93] CICERO CANDIDATUS

girls singing lines r and 3, the boys 2 and 4, while 5 is sung tuwice by all together

Tē tenēmus, cōpa;

Nē velīs abīre,

Vinum sī praebēre nōlis, Vīnum clārum, suāve, miīte, Viīnum quod sit optimum.

Tē laudāmus, cōpa,

Dulcis et benigna,

Quamquam nīl habēs in mēnsā Praeter ōva, praeter pānem, Praeter dūrum cāseum.

SCENE IV

The public square of Arpinum, as in the preceding scene. Enter three Girls of the town, with flowers in their hair and garlands over

their shoulders. VIRGO I

[Looking about] Mīror ubi sint adulēscentēs. Nōndum

vēnērunt. VIRGO II

Id nōn est mīrum. Semper sunt tardiōrēs.

VIRGO IIī Modo omnēs adveniant. Nōn est iūcundum sī pars

modo adest. VIRGO II

Nē commōta sīs dē istā rē. Bene sciō Mārcum tuum adfutūrum esse.

1 Music on p. 173.

l94] SCENE IV

VIRGO III Mārcum meum? Nōn est Mārcus meus. Mihi omnēs

sunt similēs. VIRGO II

Hoc vīs dīcere — omnēs esse similēs praeter ūnum. Nōnne eum vīdī ante iānuam vestram ambulantem et respicientem, ambulantem et respicientem, quasi aliquam puellam exspectet? UShe laughs and points at Virgo III.

VIRGO III Abī tū cum facētiīs tuīs. Putās omnēs semper dē adulēscentibus cōgitāre sī tū id facis.

Enter an old beggar woman, MENDICA, with a small bag on her arm and a staff in her hand. She stoops and walks slowly. Approaching the givis, she holds out her hand and speaks in a whining, sing-song voice.

MENDICA Pauper sum, virginēs. Date mī aliquid, quō vītam

sustentāre possim. VIRGO I

Abī tū! nīl dabimus. MENDICA

Atquī, sī benignae estis, dabitis aliquid.

VIRGO 1I1 [Louder] Nihil dabimus! Nōnne audīvistī? Abī!

MENDICA CShaking her staff at them] Estis dūrae. Dī vōbīs malum dent, ut dignae estis ! CShe hobbles away, grumōling and talking to herself.

L95] CICERO CANDIDATUS

VIRGO III [Listening] Iam veniunt. Nōnne audītis?

CShouts of “Salvē Cicerō!” are heard in the distance.

TURBA

(Behind the scenes the people are presently heard singing, in vigorous rhythm, like a college yell] Salvē Rōma, salvē Cicerō, salvēte omnēs incolae! Hoc est oppidum quod laudāmus, māter clāra prīncipum; Hic est ille quem probāmus, hunc faciēmus cōnsulem. [The crowd comes in shouting] Salvē Cicerō! Salvē Cicerō!

MEĒSSORĒS lAddressing the girls] Salvēte, omnēs virginēs, pulchrae

et benignae! VIRGINES

[Replying] Salvēte, omnēs iuvenēs, validī et fortēs! [(The Messores and Virgines stand together at one side

of the stage, and occasionally talk to each other during the speech.

TURBA [Continuing to shout] Salvē Cicerō! Salvē Cicerō! [Meanwhile Cicero mounts the steps of the fountain, where he smiles and bows, then raises his hand for silence. CICERO Multō iūcundior, cīvēs meī, quam dīcere possum, est mihi vestra acclāmātiō. Hic diēs mihi est grātus et laetus per sē, quō mihi multōs post annōs vōs iterum vidēre licet. Laetiōrem eum fēcistis vestrā benevolentiā Haec est patria mea. Hīc sum nātus.

L96] SCENE IV

TURBA Nōs quoque hīc sumus nātī.

CICERO Hōc gaudeō, amīcī. Ante oculōs videō nōn sōlum meōs, sed patris et omnium meōrum amīcōs et benevo- lentēs. Cum Rōmam laudem, prō eā, dominā gentium, parātus sim pugnāre, parātus, sī necesse sit, vītam āmit- tere, Arpīnum, patrium oppidum, nōn sōlum laudō, sed amō, et tōtō animō semper amābō.

TURBA Arpīnum est clārum oppidum! Salvē Arpīnum!

CICERO

Quis hoc oppidum nōn amet, nōn omnī modō iuvāre et servāre velit, cuius incolae rūsticī, antīquī mōris, patriae amantēs semper fuērunt, ubi clārissimus ille omnium Rōmānōrum, C. Marius, vīcīnus et familiāris vester et patrum vestrōrum, habitāvit?

TURBA Clārus vir est Marīus! Est cōnservātor reī pūblicae!

CICERO Ā cīvibus vestrī similibus imperium Rōmānum sustentā- tur et dēfenditur. Sine vōbīs neque mīlitiae clārī neque domī ōtiōsī et sēcūrī esse possumus. Tālibus cīvibus opus est, praecipuē hōc tempore, quō improbī in urbe coniūrā- tiōnem faciunt et tōtum imperium dēlēre cupiunt.

TURBA Dī perdant scelestōs istōs! Dī perdant latrōnēs!

L9o7] CICERO CANDIDATUS

CICERO

Sī vōs nōn nōssem, dīcerem: Excitāte vōs, incumbite ad salūtem vestram et reī pūblicae. Id autem nōn est necesse. Vōs ipsī scītis quid sit faciendum.

TURBA Scīmus! Scīmus! Parātī sumus.

CICERO

Cōnsulēs creandī sunt quī vītam suam et fortūnam minōris aestiment quam vestrās rēs, quam potestātem atque dignitātem reī pūblicae. Tālem cōnsulem, sī vestra voluntās faciet ut illud adipīscar fastīgium, testor deōs immortālēs mē futūrum esse.

TURBA Cicerō sit cōnsul! Cicerō sit cōnsul! Salvē Cicerō!

CICERO

Ōnum hoc vōs moneō, idem quod omnēs. Ferte suf- frāgia prō rē pūblicā. Id sōlum vōs numquam paenitēbit. Loud applause and shouting. Cicero bows and waves his hand in acknowledgment, then passes out fol- lowed by the crowd, which begins singing as soon as he starts to go out, and continues as it moves away, keeping step with the rhythm of the lines.

They are still singing when the curtain falis.

Salvē Rōma, salvē Cicerō, salvēte omnēs incolae!

Hoc est oppidum quod laudāmus, māter clāra prīncipum;

Hic est ille quem probāmus, hunc faciēmus cōnsulem.

[98] CONIURATIO CONIURATIO

(The Conspiracy)

PERSONAE CATILīNA, the leader of the conspirators (Scene I). LAECA CETHĒGUS CĒPĀRIUS pjconspirators (Scene I). Cassrus LENTULUS

PHILANDER, a confidential servant in Laeca’s house (Scenes I, Il).

SERVAE I, II, III, and IV, four maidservants in Laeca’s house (Scene IO. :

CURIvUs, a former conspirator (Scene II).

FULVIA, loved by Curius (Scene III).

STAPHYLA, her maid (Scene III).

TĒRENTIA, Cicero’s wife (Scene IV).

TULLIA, his daughter (Scene IV).

MīLrrēs I1, II, III, and IV, soldiers guarding Cicero’s house (Scene IV).

SERVA CICERōKNIS, a maidservant in Cicero’s house (Scene IV).

CICERō, the consul (Scene IV).

Carō, friendly to Cicero (Scene IV).

VIRī I and II, two men friendly to Cicero (Scene IV).

PLACE: Rome.

TmqE: November 6-8, 653 B.C.

L100] CONIURATIO

SCENEI

The house of M. LAECA. It is night. LAECA and CATILINA are present. The latter wears a purple cloak, the others togas only.

CATILINA [Walking up and down in agitation, while Laeca is seated] Hōra adest quā conveniendum erat. Cūr nōndum adsunt? Fēcistīne omnēs certiōrēs?

LAECA Sunt prōvīsa omnia. Servum quem habeō fidēlissimum ad omnēs mīsī. Putō eōs mox adfutūrōs esse.

CATILINA Cstill walking] Numquam satis est prōvīsum. (Cēnsulem quī vigilat, nisi vigilantēs fallere nōn possumus. Estne omnis familia tua fidēlis?

LAECA Sunt servī, sunt neglegentēs. Neque sciunt, neque cūrant eās rēs quae ad sē nōn pertinent.

CATILINA Est laetum quod dīcis. Caveās velim ut eī sōlī admit- tantur quibus fidem habēmus. Curius praesertim vidē nē

Lio1] CONIURATIO

domum intret. Est amīcissimus Fulviae. Ista fēmina mihi suspiciōnem movet. Est nimis cūriōsa, nimis dīli- gēns, atque, ut dīcunt, Cicerōnī ipsī nōn inimīca.

PHILANDER LĒEntering, to Laeca] Adest vir quī colloquium petit.

LAECA Quis est?

PHILANDER Nesciō. Est capite opertō.

LAECA Quid dixit?

PHILANDER Dīxit sē petere lībertātem cīvium.

LAECA Admittātur. Omnēs admittantur quī id dīcent.

(Philander goes out. CETHEGUS

CEntering and shaking hands with Laeca and Catiline] Salvēte.

CATILINA Sōlusne venīs? Est iam multa nox, neque quisquam

praeter tē adest. ; CETHEGUS

Ita mihi tūtius vīsum est. Dum viae sunt plēnae homi- num, coniūrātōs melius est manēre domī.

CEPARIUS 4 [ĒEntering] Salvēte omnēs quī lībertātem amant.. ::

Cr02] SCENEI Enter Cassius puffing, he is fat.

CAsSIUS Dēfessus sum. [Waving his hand] Salvēte omnēs. lPufing] Est haec via ardua. Perdant mē omnēs dī deaeque, sī nōn esset facilius domī manēre quam īre per noctem in hunc abditum locum. [He puffs and sits down heavily.

CATILINA

Labōrandum est, Cassī, sī lībertātem reciperāre volu- mus. ſīisi tē bene cognōssem et fidem tuam, putārem tē nōn esse nostrum, sed cēnsulis]

CASsSIUS Ignōscite, sodālēs. Satis vēlōcem mē inveniētis, cum impetus faciendus est in istum servum senātōrium. LShaking his fist] Dī eum perdant cum omnī manū suā!

CETHEGUS Dīs nōn opus est. Ad hanc rem ego sum parātus. Duōs hominēs iam habeō, quī negōtium cōnficiant.

CATILINA Suntne certissimī? Cōnfīdisne eīs in omnibus rēbus?

CETHEGUS Sunt tam fidēlēs quam ego sum ipse. Nēminem vīdī, nē nōbīs quidem exceptīs, quī tam cupidus sit istīus

hominis interficiendī. CATILINA

Mīror unde sit tibi tanta fīdūcia. Mementō hoc esse perīculōsum. Sī ūnus ex omnibus sit in minimā parte suspectus, tōtam rem perdere possit.

[r053] CONIURATIO

CETHEGUS Fac perīculum quodvīs. Caput meum sit pignus eōrum fideī. CATILINA LShaking hands with Cethegus] Ignōsce. Tibi crēdō. Lstill holding his hand, to the others] Placetne ut hoc negōtium Cethēgō trādātur? OMNĒS Placet.

(They shake hands with Cethegus. Caantim Laeca rings a little bell, and walks about rubbing his hands with satisactionī]

LAECA 0Wnhen PHILANDER appears] Adferātur vīnum.

(Philander goes oul. CEPARIUS

Nōndum omnēs adsunt. Ubi est Lentulus?

CASsSs1US (vni sit Lentulus? [He laughs aloud and puffs. He is seated, the rest are standing.] Sine dubiō auspicia facere volēbat, ut scīret quem locum auctōritātis ipse habitūrus esset. Nē ignōrētis, Lentulus est tertius ille Cornēlius, quem librī indicant rēgem huius urbis futūrum esse.

He laughs, puffs, coughs, and fans himself with his hand. PHILANDER comes in with a big bouwl, which he sets on a table. SERVA II follows with a tray of glasses. Laeca points to Cassius, whom Philander serves, ladling the wine from the boul. The girl sets the tray on the table and both slaves g0 out.

L104] SCENEI

LENTULUS LĒntering] Salvēte, amīcī lībertātis. Veniam petō quod tam sērus accēdō.

[He shakes hands. Cassius, still holding his glass, remains seated while he shakes hands.

CATILINA Iam est cōnstituendum quid quisque faciat. Cethēgus vidēbit ut cōnsul tollātur. Id cōnstitūtum est.

LENTULUS Hoc mihi faciendum putāvī. Librī enim mihi magnam partem huius reī attribuunt. Nōn dubitō quīn ipse sim tertius ille Cornēlius ad quem potestās huius urbis ven- tūra sit. Igitur mihi in urbe manendum est.

CASsSIUS [Zaughing] Nōnne hoc vōbīs praedīxī? [e pugs and fans himself.

CATILINA

ing in front of Lentulus and pointing his finger at him] WĒ: prīmum tibi dīcō, in hāc rē quemque id factūrum esēē quod ab omnibus cōnstitūtum sit. [Drawing himself up and thumping his breast] Adhūc ego sum dux, ā vōbīs ipsīs dēlēctus. 1 CLooking around at the others, who nod] Per trēs annōs cōnsulātum petīvī, tōtam invidiam inimīcōrum in mē recēpī. Omnium opīniōne ego sum caput con- iūrātiōnis. Meum est summum perīculum. Mea igitur sit summa dignitās. Nihil tamen postulō ante cēterōs. Quid futūrum sit in posterum, tunc vidēbimus cum aderit

[105] -

āerl4 4 CONIURATIO

necessitūdō videndī. īterum dīcō: Nunc cuique faciendum quod ab omnibus cōnstitūtum sit.

OMNES [Applauding] Ita sit. Ita sit.

LENTULUS (Abashed] Facite quidquid vultis. Ōnum petō tamen,

ut maneam in urbe. CATILINA

Hoc tibi concēdimus. Vidē modo ut vigilēs. Nōn duōs oculōs sōlum habet cōnsul. Praecipuē videndum est quid agat Curius. Dē istō homine suspicor.

LENTULUS Factum reperiēs. Nihil erit quod in mē querāris.

CATILINA Quis cūrābit sollicitandōs pāstōrēs?

CEPARIUS Id mihi postulō. Diū habitāvī in Apūliā, cuius hominēs mihi sunt nōtissimī. Multī sunt in meīs praediīs, quī quācumque hōrā sīve diēī sīve noctis iubēbō, in armīs

erunt. CATILINA

0706 the others] Placetne hoc vōbīs?

OMNES Placet. CASSIUS

CStilt seated] Quid mihi est faciendum? Petō negōtium ad quod iter facere nōn sit necesse.

[106] SCENE I

CATILINA Adhūc nēminem habēmus quī urbem incendat.

CAss1Us Id perficere possum per lībertōs meōs. Sunt hominēs strēnuī et ferōcēs, quī ex nūllā aliā rē maiōrem volup- tātem caperent. Ōmnēs partēs eōdem tempore incen- dendās cūrābō, sī id placet. OMNES

Placet. CATILINA

Omnia sunt trānsācta. Reliquum est ut iūre iūrandō coniungāmur sānctissimō. Estisne parātī?

OMNES Parātī sumus. CATILINA

(Drawing his sword and raising it, in a louder voice] Quī ex nōbīs gladium stringere dubitet, gladiō interficiātur.

(He brings down the sword. OMNES

(Drawing their swords and raising them] Gladiō interficiātur.

CATILINA (Raising his sword] Prō lībertāte cīvium contrā rēgēs

atque tyrannōs! OMNĒS

LRaising their swords] Contrā rēgēs atque tyrannōs!

CATILENA In hēc prōpositō bibāmus. [Laeca offers a glass of wine from the table. Catiline pushes it aside with a sweep of his arm] Nōn ita! Sanguinem fundēmus: sanguinem bibēmus.

L107] CONIURATIO

[He draws his sword across his left forearm and holds it over a cup, slaps his suord on the table, and raises the cup before them, ready to drink. They raise their swords, as Catiline shouts] Per sanguinem ībimus ad lībertātem!

SCENE II

The kitchen of LAECA’S house, next morning. Four Maidservants are sitting in a semicircle facing the audience, engaged at some household work.

SERVAI

Iam est quārta hōra. Adhūc dominus dormit. Hoc mīror, cum aliās semper prīmā lūce domum iam relīquerit.

SERVA II Nōn est mīrum, quī tōtam paene noctem vigilāverit.

SERVAI Tōtam noctem vigilāverit? Unde id cognōvistī?

SERVA I1 Unde id cognōverim? Nōnne mē et Philandrum multā iam nocte vīnum adferre iussit? Et nōnnūllās hōrās posteā

vigilābant cum dominō. SERVA 1

EĒrantne multī hominēs?

[There is a knock at the door. CURIUsS enters disguised as an old beggar. He speaks in a high, whining voice.

CURIUS Benignae este hominī miserō. Dī vōs adiuvent sī mihi dabitis quō famem levāre possim.

[108 ] SCENE II

SERVA III Vidēris dēfessus, senex. Fēcistīne longum iter?

CURIUS Per trēs diēs continuōs in itinere fuī. Neque somnum

neque cibum cēpī. SERVA III

Quā regiōne ortus es?. CURIUS Nātus sum in Āpūliā, ubi multōs annōs habitāvi, dīli- genter labōrāns. Iam frāctus sum senectūte, neque diūtius labōrāre possum. Nisi mē adiuvābitis, reliquum est ut moriar. Dūrum est pectus hominum.

CShakes his head slowly. SERVAIV

Sī cibum accipiās, velīsne nōbīs fābulam nārrāre, longam et bonam fābulam dē Apūliā?

CURIUS Libenter fābulam narrābō. Multās nārrāre possum et

bonās. SERVA IV

(Cetting him a plate of food] Em, habēs cibum quem petī- vistī. Nē oblīvīscāris fābulam.

CURIUS Grātiās agō. Nōn oblīvīscar. CLSits down and eats. The girls resume their work and

g0 on talking. SERVAI

Tōtam noctem dīcis eōs vigilāvisse? Sine dubiō multum vīnum pōtāvērunt.

L109] CONIURATIO

SERVA I1

Paene nūllum. Hoc est maximē mīrandum. Cum

dēnique omnēs abiissent, crātēra invēnimus plēnum, quō- modo eum Philander adportāverat.

SERVA 111 Quid dīcis? Putāsne mē crēdere hominēs cum dominō per tōtam noctem vigilāvisse, cum nihil biberent? Nōn ita cognōvī dominī amīcōs.

SERVA II Nesciō quid factum sit. Tamen hoc sciō, vīnum eōs vix gustāvisse. Potius dīxerim sanguinem eōs pōtāvisse. Nam sanguis erat in pōculō ūnō. Guttās quoque vīdī in mēpnsā. CCurius looks up, stops eating with his morsel half way to his lips, and listens intently.

SERVA III

Abī tū in crucem cum sanguine tuō. Mihi vidēris

tōtam hanc fābulam somniāsse. Ego sī id fēcissem, timērem nē lārvae mē caperent.

SERVA II Facite quod vultis. Sī mihi nōn crēditis, nihil amplius nārrābō. SERVA IV LPutting her arm about Serva II] Age, nē īrāscāris. Perge nārrāre. Sīve vērum est, sīve falsum, dummodo nārrēs

aliquid. SERVA II

[7nying to shake off her arm] Satis benignae estis dum petitis quod vōs dēlectet. Nihil amplius nārrābō.

110] SCENE II .

SERVA IV Nōnne tē nostrī miseret? Tam bona fābula, tam pulchra

et horrenda, iam periit. SERVA 11I

Sī haec fābula periit, aliam reperiēmus. [70 Curius] Heus, mendīce, nōnne tū nōbīs fābulam prōmīsistī?

CURIUS Prōmiīsī fābulam prō cibēō. Quam parātus sum nārrāre.

SERVA 111 . Et nōs sumus parātae audīre. Incipe.

CURIUS

CClearing his throat] Erant ōlim in urbe quādam hominēs malī quī cum bonīs contendēbant quis ex ipsīs imperium eius urbis habēret. Arbitrium incolīs urbis faciendum erat, quī quotannīs dē hāc rē dēcernēbant, ac per multōs annōs semper potestātem bonīs trādiderant. Dēnique hominēs malī, incolārum iūdiciō īrātī, coniūrātiōnem fēcērunt, ut bonōs interficerent atque imperium ipsī occupārent. Hoc nōn erat facile factū, quod bonī magistrātūs dīligenter prō populō vigilābant. Postrēmō autem in domō cuiusdam malī hominis noctū convēnērunt. Cuique ex suō numerō negōtium quoddam dedērunt, aut incendendae urbis, aut interficiendī magistrātūs, aut aliud negōtium huius modī. Quō sē autem artius coniungerent, cum iūs iūrandum dīxissent, nōn vīnum, sed sanguinem pōtāvērunt.

SERVA 11 Un agitation] Sanguinem suum! Nōnne vōbīs dīxī sanguinem suum?

Cr11] CONIURATIO

SERVA III Tū nārrāvistī somnium. Haec autem sunt vēra. [7v Curius] Nōnne haec sunt vēra?

CURIUS Sunt dē vītā meā. [Rising] Prō cibō iterum grātiās agō. Valēte. OMNEĒS

valē. CCurius goes out. SERVAIV

Iam abiit. Tālem mendīcum numquam vīdī.

SERVAI

Mendīcum? Sī ille est mendīcus, ego sum māter deōrum. Nōnne vīdistis ut ibi sēderit per tōtum tempus capite opertō, ut eius ōs vidēre nōn possēmus? [Aodding wisely] Plūs scit ille quam nōbīs nārrāvit, dē conciliō illō nocturnō, dē sanguine pōtō, dē malīs hominibus quī contrā bonōs coniūrātiōnem faciunt.

PHILANDER CEntering] Dominus iubet prandium parāre. [Iurnas to g0.

SERVATI Heus, manē paulisper. Habēmus quod te rogāre velīmus.

PHILANDER Dfīcite. SERVAI Quid tū scīs dē sanguine pōtō in hāc domō?

PHILANDER Nihil sciō. Aurēs habeō et oculōs, linguam nōn habeō.

L112] SCENE III

SERVAE (They get up and start to throw things at him, shouting] Mendāx ! Prōditor! He escapes through the door, ducking his head.

SCENE III A room in the house of FULVIA, who sits at a small table.

FULVIA CSinging1] Ō dulcis amor, quī mē facis Per tōtās hōrās dīvitem, Tū dās mihī quod aestimō In omnī vītā maximum.

Ō trīstis amor, quī mē facis īdem longē miserrimam, Dum torqueor, dum cōgitō Quam mox rapiantur omnia. (While she hums the tune over again to herself, she picks up a mirror, adjusts her hair, ete. Her old Maid-

servant comes in with lIetters on a tray, which she sets on the table before Fulvia, and goes out again.

FULVIA

Tanta vīs epistulārum! Et plēnae sunt omnēs molesti- ārum. CShe begins picking them up indifferently and tossing them aside] Hās epistulās saepe iam accēpī. Ōmnēs sunt similēs. ClWhale she says the following, she keeps on tossing one letter aside at each word, harder and havder, till the last ones fall beyond the table on the floor] Piget, pudet, paenitet, taedet atque miseret. [Laughing] Hae clārum ignem facient.

1 Music on p. 173.

[115] CONIURATIO

LSuddenly she picks up a letter eagerly and presses it to her lips] Ecce tandem, tandem. Tū es plēna dulcēdinis, [As she opens it impatiently] plēna venustātis, plēna amōris. LShe ’isses it again, and begins to read] “Curius Fulviae suae, oculō suō, [Xissing the letter] vītae suae. Hodiē venīre nōn possum.” Cūr venīre nōn potest? Sunt omnēs virī similēs. [Reading] “Negōtium” —I Disgusted] Negōtium! [Reading] “dē quō tibi dīxī — coniūrātiōnem —sanguine pōtō— cōnsulem interficere —est perīculum.” Cōnsulem inter- ficere? Clārum illum hominem, venustum, urbānum, interficere? Iam intellegō. īam intellegō. [Readingl ‘Hoc prohibendum est. Quārē tē hodiē nōn vidēbō.” [-nthusi- astically waving the letter] Curī, tū es vir, tū es maiōribus tuīs dignus! Ego quoque ostendam mē esse dignam tālī virō. [Xissing the letter again, she lays it down carefully] Pro- hibendum est, [GCetting up] et prohibēbitur, sī quid ego facere possum. [Calling] Staphyla! [Louder] Staphyla!

STAPHYLA [mntering] Quid vult domina mea?

FULVIA Properā, Staphyla, paenulam patris mihi adfer.

. STAPHYLA Paenulam patris? Tū, fēmina iam adulta, in vestīmentīs virīlibus? FULVIA Tacē. Fac quod iubeō. Eundum est ad domum cōn- sulis. LStaphyla goes out shaking her head, while Fulvia begins fixing herself up, and starts humming again the tune of the song

Lr14] SCENE III

she sang before. STAPHYLA comes in with a big man’s cloak.] Iam tū mihi indue paenulam. Necesse est nōs virōs fierī.

STAPHYLA LHorrified] Mē vestīmentīs virīlibus indūtam īre per viās? Fēminam senem meōrum annōrum tālēs nūgās agere? ō certē ioculāris. FULVIA Nihil ioculor. Audīvistīne quid iusserim? Eundum est ad cōnsulem, sine morā, statim.

CStaphyla goes out and comes back bringinug an even larger cloak, while Fulvia is fixing herself up, trying to keep the long cloak from dragging on the ground. She has it pinned up by the time Staphyla returns. Then she puts the other cloak on Staphyla. It proves much too long and big.

FULVIA

Mēcastor, nōn es satis longa. Virum grandem esse oportet. [She doubles it under and pins it up] Ēcce, iam sumus parātae.

CShe looks in the glass and struts about with long

paces like a man. STAPHYLA

(Not enjoying her 4ress] ō mē miseram. Tōtam vītam probam mē gessī, ut iam in senectūte meā faciam quae

pudenda sint. FULVIA

St1 CHolding her hand before Staphylas mouth] Mementō tē virum esse, et virōs esse fortēs. Iam ad cōnsulem

eāmus. [Picks up the letter of Curius, grasps Staphyla by the hand, and pulls her away as the curtain falks.

L115] CONIURATIO

SCENE IV

The atrium of Cicero’s house. Four Soldiers are on guard, two on each side of a door at the rear of the stage. It is night.

TERENTIA lComing in with a lamp in her hand] Suntne omnia quiēta?

MILES I OŌmmnia. TERENTIA

Mihi vidēbātur aliquid sē movēre extrā iānuam.

MILES I Nihil audīvī, domina mea.

TERENTIA Cūstōdīte iānuam dīligenter, nē quis intret nisi nōmi- nātim sit permissum ā nōbiīs. MILES I

Ita fīat cūrābimus. TERENTIA

[Half to herself] Est vērō haec misera nox et sollicita. Cum omnibus, etiam īnfimīs, dormīre liceat et quiēscere, cōnsul, cīvitātis caput, vigilat et vīvit in perīculīs.

TULLIA

(Coming in timidly, with a wrap about her] Ubi es, māter mea? Audīvī aliquem per viam euntem, postquam tū cubiculum relīquistī. Cūr nōn redīs? Cum sōla sum,

timeō. TERENTIA

Nē timeās, vīta mea. [Putting her arm around her] Iam redībimus. Nēmō adest. Sunt omnia tūta. Nē timeās. Manēbō tēcum. (Terentia and Tullia go out together.

116] SCENE IV

MILĒS I Mīror cūr domum tam ācriter cūstōdiant, praesertim hāc nocte. Nōn mihi vidētur maius esse perīculum quam

ūllā aliā nocte. MILES II

QPeering through-a small opening in the door] Via est tene- brēsa et dēserta. Equidem esse mālim in solitā statiōne nostrā. Dūrum negōtium est vigilāre intrā parietēs.

MILES I Diēs mox aderit. Tum erimus līberī.

[Some one knocks at the door.

MILES II Heus, quis hīc pultat? [Looks out through the opening.

HOMO [Outside] Amīcī sumus cōnsulis. Rēs est gravissima dē quā cum eō conloquī volumus.

MILES II Nōn licet intrāre. HOMO

[Outside] Cōnsulem mē vidēre oportet.

MILES II Cōnsul iussit nēminem admittere. [Closes the openiug.

HOMO [Outside] Posteā paulō redībimus.

TERENTIA [Entering with TuLL1A clinging to her] Nōnne vōs loquentēs

.

audīvī?

L1171 CONIURATIO

MILĒS II Aderant duo hominēs, quī dīcēbant sibi cum cōnsule

conloquendum esse. TERENTIA

Un alarm, raising her hands] Duo hominēs? Sunt eīdem dē quibus epistula illa nōs certiōrēs fēcit. Iamne discessērunt?

MILES II Dīxērunt sē paulō posteā reditūrōs.

TERENTIA Obsecrō vōs per deōs immortālēs, nē quem admittātis. Vita cōnsulis posita est in vestrā dīligentiā.

MILES I Nē commōta sīs, domina mea. Officium factum ā nōbīs inveniētis. TERENTIA Un despair] Quid agam? Dormīre nōn possum. Cōn- sulem excitāre nōlō. Vix dormit, postquam tōtam paene

noctem ipse vigilāvit. MILES I

Nūlla est causa timōris. Nōs sumus quattuor cum gladiīs. Illum vidēre velim quī incolumis per nostrās

manūs intrāverit. TERENTIA

īgnōscite. Sciō vōs esse fortēs et fidēlēs. Grātiās agō prō dīligentiā vestrā et cūstōdiā. Tamen, sī quis — A maidservant comes running in excitedly.] Quid est? Dīc statim quid sit. Cūr timēs?

SERVA CICERONIS CBreathilessly] Audivī virōs loquentēs in hortō. (Pointing.

[118] SCENE IV

TERENTIA In hortō? Quō nōs vertāmus? Ubique est perīculum. Ite, mīlitēs, vidēte nē in domum aliquō modō inrumpant.

MILES I Ite vōs duō. Tōtam rem exquīrite. Nōs hīc manēbimus.

CSoldiers IHII and IV go, followed by Terentia, Tullia, and the maidservant, holding fast each other's hands. A short time elapses in silence.

CICERO LĒntering dressed in the toga] Dormiīre diūtius nōn possum. Lūx etiam certa iam adest. Salvēte, mīlitēs. [(The soldiers raise their swords in salute] Ut videō, adhūc iugulātōrēs nōs vīvōs relīquērunt. Ubi autem sunt sociī vestrī?

MILES I1 Observant hortum. Nam ibi quoque aliquem loquentem

audīvērunt. CICERO

Ibi quoque? Audivistisne hominēs ūllō aliō locō?

MILES I1 Hīc ante iānuam erant duo quī sibi tēcum negōtium

esse dīcēbant. CICERO

Mēcum negōtium? Bene sciō quid sit illud negōtium. Erat igitur vērum quod Fulvia mihi obscūrīs verbīs dīcere volēbat. Dīs grātiās et vōbīs, quod eōs nōn admīsistis.

[He shakes hands with them. MILES I

Fēcimus id quod est officium nostrum. Mīles quod

iussum est facit, sīve facile sit, sīve difficile.

C119] CONIURATIO

CICERO Bene meritī estis dē rē pūblicā. Hoc semper memoriā tenēbō. MILES I Bene facis, domine. Per nōs quidem nōn fallēris.

(The other tuo soldiers return.

MILES III Nihil invēnimus nisi vacuum hortum. Xīreā sententiā serva illa duōs hominēs somniāvit.

CICERO (Zaughing] Tū es homō urbānus et facētus. USlapping him on the back] Tē aliquandō imperātōrem vidēbō et cōn- sulem. CShaking hands with him] Omnibus vōbīs maximās grātiās agō. Iam abite et cibō vōs recreāte. Interim ego ipse portam tuēbor.

[They go. Cicero draws a sword from under his toga, which he lays on the table. Enter TERENTIA and ToctLIa.

TERENTIA

Tālem noctem spērō mē numquam vīsūram esse. O vir mihi cārissime, dī tē servāvērunt.

CICERO

Dī et hominēs fortēs et mea prōvidentia. Cōnsul quī rem pūblicam servāre vult, necesse est prīmum sē ipse servet. Quid agit Tulliola mea? Tōtam noctem dormīvit?

TULLIA Ego vigilāvi prō tē, et hominem praetereuntem audīvī.

[120] SCENE IV

CICERO LPatting her on the head] Tū es fīlia vēra patris tuī. Is est cūstōs reī pūblicae, tū es cūstōs cōnsulis. Sī tū nōn vigilāssēs, rēs pūblica periisset. Tē puerum esse oportuit.

TULLIA

[7u disgust] Puerum! Puerī et virī dormiunt dum prae-

dōnēs rem pūblicam auferunt. Sī fēminae nōn essent,

et puellae, ego vērō nescīrem quid facerent virī. Prae- dōnēs eōs iam dūdum omnēs iugulāvissent.

CICERO LPatting her on the head] Vērum dīcis, fīlia mea. Nōnne

dīxī tē rem pūblicam servāvisse ? [A knock is heard at the door. Ierentia shrinks,; Tullia clings to her. Cicero takes lhis sword from the table and speaks in a loud voicel Quis pultat?

CATO lOutside] Est amīcus reī pūblicae.

CICERO [Looking through the opening in the door, relieved] Ecce, Catōnem videō. [Opening the door wide] Salvē, amīce vērē

amāns reī pūblicae. D 0 T

lEntering] Salvēte omnēs. LShakes hands with Ciceroc.

TERENTIA Salvē, Catō, et valē. Rēs pūblica fēminās nōn dēsīderat.

CATO Vōs estis mātrēs eōrum quī cīvitātem cūstōdiunt. [Bows to the women as they retire. Another knock at the door. When Cicero opens, two other Men enter.

L121] CONIURATIO

CICERO Salvēte, salvēte, gaudeō vōs omnēs mātūrē vēnisse.

VIRI Salvē, Cicerō, et tū, Catō, salvē. [(They shake hands. Then one of them speaks to Cicero] Quid nōs tandem iam

mediā nocte excitāvistī? CICERO

Breviter dīcam. [The others show signs of surprise at vari- ous points in the speech, which Cicero addresses now to one, now to another.] Hesternō diē mihi ā fēminā quādam indicātum est duōs hominēs pollicitōs esse mē hodiē ante lūcem in lectulō meō interficere. Hōrum cōnātum praevēnī. Quattuor mīlitēs per tōtam noctem mē et domum cūstō- dīvērunt. Ante lūcem, quōmodo mihi praedictum erat, duo intrāre cōnātī sunt, quod, mīlitibus absentibus, sine dubiō effēcissent. Haec rēs, ut mihi vidētur, nimium iam crēvit. Tempus adest quō omnēs bonī sē coniungere dēbent, ut Catilīnam et sociōs eius urbe ēiciant. Dum hīc manet iste, nōs tūtī esse nūllō modō possumus. Iam dēnique rēs pūblica agitur. Hanc enim ipsam, nōn sōlum nōs, istī hominēs dēlēre cupiunt. Vōs igitur convocāvī, ut mē cōnsiliō vestrō adiuvētis. Sī vōbīs placet, tōtam rem ita patefaciam in senātū, ut nōn sōlum hominēs, sed bēstiae intellegere possint quis sit amīcus, quis inimīcus

omnium. CATO

Sī est ut dīcis, diūtius nōn putō dubitandum esse.

UNUS EX VIRIS Haec est mea sententia.

L122] SCENE IV

ALTER EX VIRIS Et mea. Eiciātur hostis.

CICERO Optimē mihi cōnsuluistis. Iam parātus sum. [Raising his hand toward heaven impressively] Hōc diē līberābimus rem pūblicam!

l1251 DIDO DIDO

PERSONAE

ANNA,, sister of Dido (Scenes I, III, IV).

DīDō, queen of Carthage (Scenes I, III, IV).

SERVUS, a servant of Dido (Scenes I, IV).

CARTHĀCINIENSĒS I and II, two Carthaginians (Scenes I, IV).

ANICULA, an old woman, soothsayer and friend of Anna (Scene ī).

Mvutrerēs I, II, III, and IV] Fīrojsns from the ships of Aeneas

Vinī I and II j (Scenes II, IV).

IAREāS, a Numidian prince, suitor of Dido (Scene II.

AENĒāSs, leader of the Trojans (Scenes II, III, IV).

AcHĀTīēs, his friend (Scenes II, III, IV).

īuionrvus, a Trojan (Scenes III, IV).

CvuPīDō, son of Venus, dressed as Ascanius, son of Aeneas (Scene IV).

Brriīās, a Carthaginian (Scene IV).

IōPās, a bard at Dido’s court (Scene IV).

SILENT CHARACTERS: Opne of the Carthaginians mentioned above (Scenes I, IV;, the attendants of Iarbas (Scene II), two ladies of Dido’s court (Scenes III, IV), a captive Trojan (Scene III), two soldiers (Scene IIIj), menservants and maidservants at the banquet (Scene IV).

PLACE: Carthage and the seashore near by.

TiME: Seven years after the Trojan war.

C126] DIDO

SCENEI

The palace of DiDO. DiīDO is seated, with her head on her hand. ANNA is standing beside her, with her hand on Dibo’s shoulder.

ANNA

Cūr tē, soror mea, tam trīstem videō? Omnēs rēs tuae sunt laetae. Urbs magna et pulchra tibi aedificātur. Populus tuus est fidēlis. Hostēs paene nūllōs circā fīnēs tuōs vidēs.

DIDO

Hostēs paene nūllōs — Utinam ita esset ut tū dīcis.

Videō amīcōs quī īnfēstiōrēs sunt omnibus hostibus.

ANNA

Nesciō quā dē rē dīcās. Antehāc omnia cōnsilia tua mihi semper patēfaciēbās. Iam, ut vidētur, exclūsa sum. Crūdēlis es, soror mea, quae doleās neque dē causā dolōrīs tuī mē faciās certiōrem.

D1DO

[Looking up and putting her arm around Anna] Ignōsce, soror dulcissima, sī quid tibi occultāre videor. Sunt rēs quae nihil adferant nisi dolōrem atque aegritūdinem neque omnibus iuvantibus levārī possint.

[127] DIDOŌ

ANNA At tamen, sī eās in pectore tuō semper occlūsās habē- bis, nōn tē sōlum, sed mē et omnēs tuōs laedent et cruciābunt. Quid tibi prōdest sorōrem habēre quae tē plūs amat quam vītam suam, sī tē iuvāre, omnia mala tēcum ferre nōn licet? Sī mē amārēs, ut ego tē—

Dp1DO ō soror mea, sēcrēta quae habēre posse mē sōlam spērāvī, postrēmō mihi ēripiēs. [sadly] Ēheu, omnibus meīs nihil nisi trīstitiam parāvī, nihil nisi trīstitiam parābō in futūrum. Utinam mortua essem cum Sychaeō meō antequam hanc novam urbem vīdissem.

ANNA Mortuō cavē nē iniūriam faciās. Hoc quod dīcis, ipse, crēdō, minimē voluisset. Sī adhūc vīvit et sentit, certē gaudet tē frātrem fefellisse, tē populō tuō hanc condi- disse urbem. Nūllō aliō modō tam dignam eō tē possēs

ostendere. DIDO

(Weeping] Hoc ipsum mē acerbissimē discruciat. Pum illī amantissimō coniugī meō fidem servō, mē et tē et

omnēs dō in perīculum. ANNA

Dīcisne, quaesō, dē Iarbā? Putāvī eam molestiam iam

dēpulsam esse. Dp1DO

Nōn satis intellegis animōs hominum. Primō petivit, deinde monuit, iam postremō apertē minātur, nisi popu- lum et urbem et mē ipsam trādam in eius potestātem. Cōnūbium vocat quod est manifesta vīs.

[128] SCENE I

ANNA Mīror tē iam dēspērāre. Tempus erat cum omnibus rēbus egēnī in hanc terram pervenīrēmus; tum erat perīculum ab hostibus. Iam autem cum urbem munītam habitāmus, cum dīvitiae incolārum crēscunt in diēs, quid

est quod timeāmus? D1DO

Ēheu, nihil scīs dē eīs rēbus quae ad aurēs meās veniunt. Hic populus ipse imperium gerentem vidēre velit Iarbam et mē cum eō coniūnctam. Vel sī nōn Iarbam, tunc alium quemvīs, dummodo rēgem habeant. Taedet eōs semper mulierī pārēre. Virum volunt quī

bella gerere possit. ē P ANNA

Cavē nē inīquē loquāris. Populus tē amat et ab omni- bus perīculīs dēfendere parātus est.

D1PO lAfter a little pause, looking up] Nōn haec sōla mē terri- tant. Saepenumerō, cum dormīrem, id somniāvī quod magis mē sollicitam tenet quam Iarbās et omnēs eius

cōpiae. ANNA

[Ēntreating] Dīc mihi somnium, soror mea. [Putting her arm about her] In hāc rē certē auxilium dare possum.

D1DO Nūllum est auxilium. Tam multās noctēs iam eadem

vīdī, semper eadem. ANNA

Dīc autem quid vīderīs. Est nōta mihi anicula quae- dam in hāc urbe quae somniōrum est perītissima. īllam advocābō.

129] DIDO

DIDPO Nihil agis. Parvam fidem habeō aniculae tuae et tālī

perītiae. ANNA

[Pleading] Tamen experīrī potius est quam tōtōs diēs et

noctēs vīvere in metū. D1DO

[Xisses Anna] Fac quod tibi placet, soror mea. Sī tibi est cordī, bene contenta sum.

Enter a Servant. While he makes his announcement, ANNA goes out quickly. SERVUS LBowing] Adsunt, domina mea, quī tē cōnsulere volunt dē templō Iūnōnis. DIDO Accēdant. [7he servant goes out.

Enter two Men with plans in their hands. They bow and wait for the Queen to speak. DIDO Quōmodo prōcēdunt rēs nostrae?

CARTHAGINIENSIS Bene, rēgīna mea. Sunt tamen aliqua quae pertinent ad templum Iūnōnis, dē quibus tē rogāre volumus, nisi

molestum est. DIDO

Nihil est molestum quod pertinet ad aedem eius nū- minis cuius auxiliō nostra urbs vīvit et crēscit. Dīcite.

CARTHAGINIENSIS (They hold the plans before her for inspection while he speaks] Dēligenda sunt ōrnāmenta quae in summō templō

130] SCENEI

pōnantur. Quaerimus utrum ex hīs duōbus faciendum sit quae hīc dēscrīpta sunt. Hoc opus lPvinting to one] nōn sōlum pulchrius erit, sed secundum dēscrīptiōnem multō magis sūmptuōsum. Est rēgīnae dēcernere utrum ex hīs

facere incipiāmus. pIDPO

Id mihi difficle nōn vidētur. Alius deus nūllus in nostrā urbe cum Iūnōne comparandus est. Igitur prō- videndum cēnseō nē cuius templum posthāc maius nēve clārius aedificētur. Meā sententiā est Iūnōnis quam maximum, tum etiam quam pulcherrimum faciendum. Ita Iūnō dē nōbīs semper meruit.

CARTHAGINIENSIS Grātiās agimus, rēgīna nostra. Fīent omnia secundum

voluntātem tuam. DIDO

Valēte, cīves meī. (They bow and go out. She rests her head on her hand. After a silence she speaks to herself] Omnēs cīvēs meī contentī sunt. Labōre suō aliquid cōnferunt ad bonum populī. Rēgīna sōla nescit quid sibi potius agendum sit. Ea sōla distrahitur cūrīs et cōgitātiōnibus.

While she sits lost in thought ANNA enters with the Soothsayer, an old woman dressed in dark, with a staff in her hand. Seeing her sister sad, ANNa stands still a little while, then goes to her and lays her hand on her arm.

DIDO

CStarting up from her brooding] Paene oblīta sum dē somniō. Iam tē redeunte rūrsus veniunt mihi in mentem quae mē sollicitant.

L131] DIDO

ANNA Dī bene vortant! Addūcō vātem quae tibi somnium dēclārābit. DiDŌ Salvē, māter. Dī faciant ut adventus tuus fēlīcitātem adferat. ANICULA Placeat rēgīnae somnium nārrāre. Intereā fīat silen- tium. UShe marks off a space about her with her staff, numōling to herself the while. Then she sinks down in the space and bows forward so that her cloak falls over her head, covering her face. Thus she sits huddled up, only her staff being held upright. After a silence she begins to stir slightly, which soon turns into a rocking back and forth. At last in a high voice she cries] Deus adest. Deus loquitur. Quod nārrāre vultis, nārrāte.

DIDO

After a little while when she has looked intently at the woman as if fascinated, Dido begins to speak slowly in a deep voice which gradually becomes stronger and filled with interest] Quōmodo incipiam? Quid potius dīcam? vVidēbar mihi in somniō esse sōla et dēserta, ab hostibus petīta. Neque reperīre poteram quō mē verterem, ubi auxilium inveniī- rem. Tunc procul per mare mihi vidēbātur nūbēs adve- nīre, adsiduē crēscēns, dōnec mē et urbem meam et tōtam terram Carthāginiēnsium operiēbat. Deinde quam- quam nec vidēre neque agere quicquam poteram, tamen timēre dēstitī. Paulō post placidē dormiēbam ad lūcem. Multīs iam noctibus haec mihi vīsa sunt, ut certum sit aliquid portendī. Quid hoc sit precor ut deus mihi ostendat.

[132] SCENE II

ANICULA

[After a silence the Soothsayer rises slowly, and stands at the side of the stage half facing the audience, with her head lifted and eyes closed and her arms raised and outspread. When she has stood in this way a little while, she begins speaking in a low, distinct voice, slowly and impressivelyv. Dido and Anna watch her intently] Per mare hospes advenit, quī sub nūbe hanc terram intrat ferēns pācem et concordiam tam diū quam dīs placēbit. Quid deinde futūrum sit, deus ipse

suō tempore dēclārābit. [The curtain falls slowly while she stands thus.

SCENE II

The shore near Carthage. The Trojans are temporarily en- camped amid the wreckage and salvage from the storm. Two Women are examining clothing, broken utensils, etc.

MULIĒR I Frāncta, corrupta, perdita sunt omnia. Paene nihil iam restat quō vītam tolerēmus.

MULIER II Nōlī dēspērāre. Dum vītam ipsam habēbimus, spēs

nōn dēfīet. MULIER I

Mīror cūr tam laeta sīs. Equidem gaudendī causam nōn inveniē. Dux noster quoque tam diū iam abest. Nisi mox redībit, hostēs vereor nē nōs circumveniant.

MULIER I1 Mox redībit. Nōlī timēre.

[1331 DIDO

MULIER I Dum vivam, tempestātem illam vidēbō ante oculōs. Horrendum erat, nāvem istam vidēre, cum ventīs et fluctibus agerētur. Tum dictō citius, cum omnibus quī in eā erant, submersa est.

MULIER I1 Nūllum ex illīs miserīs umquam vidēbimus. Wthile they go on with their work in silence, two other Women enter, carrying big dishes of wet grain, which they spread

out to dry. MULIER 111

Frūmentum omne est undīs madefactum et corruptum. Tamen videndum est num quid servāre possīmus. Per sōlem fortasse fīet āridum.

MULIER 1IV

Sī modo rediissent quī in silvam profectī sunt ad lignum colligendum. Ignī celerius omnia fierent.

MULIER 111

Istī iam redībunt. Paulō ante sonitus caedendī nōn

longē ab hēc locō audiēbatur. Id mē nōn angit, sed dux Aenēās, quid ille explōrātum sit relātūrus.

MULIER IV Nostra fortūna est misera. Maximō opere tamen doleō cum meminī eius uxōris Creūsae, quae illā nocte tam subitō, tam mīrō modō, dum virum sequitur, in mediā viā ēvānuit.

L134] SCENE II

MULIER III

Est vērō miserābile. Dux erat omnium, tamen quid facere poterat? Lūdibriō sumus omnēs Fortūnae, quae sī fīlium ducis servābit, aut nōs aut līberōs nostrōs post multōs annōs fortasse in sēdēs exoptātās quās quaerimus conlocābit.

Enter two Men with bundles of fagots on their shoulders, which they throw down and sit on them to rest.

VIR I Est illa silva invia et horrenda, quam ferae atque serpentēs īnfēstant. Mīrandum est nōs vīvōs exiisse.

VIR 11 Nōn ferae sōlum, sed hominēs quoque, ferīs inimī- ciōrēs, mihi quidem eam pervagārī videntur. Vestīgia eōrum plānē vīdī in harēnā. MULIER II Nōnne vōs ducem nostrum vīdistis? Eius fortasse

erant vestīgia illa. VIR II

Nōn putō. Erant vestīgia facta pedibus nūdīs, CLcint- ing to the ground] quasi ā barbarīs hominibus.

VIR 1 Revertēruntne illī quī aquam petītum exiērunt?

MULIER I Nōndum. Iam diū eōs exspectāmus.

[The blowing of a horn is heard. They allstart and look up in amased silence for a little while. The next few remarks are made in frightened halfawhkispers.

[135] DIDO

MULIER I Quid erat illud? VIR II

Quod exspectāvī. Sunt eī quōrum vestīgia —

[Another blast is heard. VIRTI

Hostēs, nisi fallor. [Aloud, getting up] Capite arma, virī. Castra dēfendenda sunt.

[The men pick up spears and shields that have been standing at hand, and walk off stealthily and cau- tiously in the direction of the sound. The women sit huddled together and frightened. After a little they get up and begin to look after the grain, etc., re- peatedly stopping to listen. A little later IARBAS with three Followers, all in outlandish clothes, and barefooted except Iarbas, come in on the opposite side. The women drop everything, scream, and run

away. IARBAS

CGoes about the place cautiously, examining things, and grada- ally becomes bolder. Finally he stands still and laughs] Castra — castra sine mīlitibus —3ā mulieribus dēfēnsa. (He laughs] Cuius modī bellātōrēs istī sint, vehementer mīror. [After going about examining things, to his men who have followed him] Audīte quod dīcō! [7hey stand and listen to him] Haec omnia sunt auferenda. Omnia! Intellegitisne? (7hey bow.] Hominēs quī iniussū meō in fīnibus meīs cōnsi- dunt, cognōscere dēbent hanc terram cum omnibus rēbus, cum omnibus —[With a sweeping gesture] intelligitisne? [They bow.] quae in eā inveniuntur esse meam, meam [He slaps himself on the chest. They bow.] Iam agite! Cōnferte, comportāte, condūcite, contrahite omnia. Nam omnia auferentur. [They begin gathering the things together.

[136] SCENE II

Meantime the tuo Trojans have returned, but remain cautiously on the outskirts, pointing excitedly at Iarbas men. When Iarbas sees them, he beckons them to him with a sweeping gesture and says] Iam redeunt bellātōrēs fortēs. [With a majestic bow] Gaudeō vōs rediisse. Nē timeātis. Nēmō vōbīs nocēbit. Hoc mihi dīcite tamen. Scītisne in cuius fīnibus cōnsē- derītis? [Drawing himself up] Ego sum Iarbās. Meī sunt fīnēs, mea est silva Undicating them with a gesture]l. Meum est lignum (Pointing to the fagots] quod mihi abstulistis. Mea sunt omnia. [The men shrink back.] Nē timeātis. Homi- nibus nōn nocēbō. Sī boni eritis, prō bonīs vōs habēbō. Tamen sum rēx. Estne vōbīs nōtum quid rēgī dēbeātur?

AEĒNEAS comes in with ACHATES. He has a helmet on and is otherwiSe distinguished by his dress. His men run to him. IARBAS’ men stop work and stand behind IAREAS. IARBAS and AĒNEAS confront each other for a few seconds in silence.

IARBAS LAngrily] Quis es? Quid quaeris? Dīc!

AENEAS [With quiet dignity] Ego sum Trōius Aenēās, sī quid dē Trōiā umquam audīvistī. Sēdēs quaerō populō meō, neque in animō est ūllī mortālī facere iniūriam. Nāvi- bus frāctīs ēiectī sumus in terram, nesciī quis eius sit rēx. Sī tū es rēx, scītō mē quoque esse rēgem, mātre Venere ortum et dīs caelestibus nōtum. IARBAS LSomewhat overawed] Rēx sum incolārum huius ōrae. Comitēs tuī, modo iniūriam nē faciant, in harēnā cōn- sīdere licet, tam diū quam mihi placēbit. 1371 DIDO

AENEAS Tālēs condiciōnēs Trōiānī nōn accipiunt. Sī sine iniū- riā hīc, quam diū opus erit, manēre nōn licēbit, scītō deōs nōs adiūvisse nec posthāc nōs relictūrōs esse. Iovem venerāmur, cui hospitēs sunt cūrae. Eius auxiliō

nōs dēfendere sciēmus. IARBAS

CSullenly and contemptuously] Rēx tibi quidem esse vidē- ris — naufragus et superbus.

AĒNEAS Non pudet nōs quod nōn accidit nostrā culpā. [Raising his hand to heaven] Sub dīs vīvimus. Eōrum sit iūdicium.

[He faces Iarbas squarely, drawn up to his full height. Iarbas looks sullen and askance. So they stand when the curtain falis.

SCENE III

The interior of the temple of Juno. An altar stands at the rear of the stage, on which incense is burning. If possible a statue should be behind this to represent Juno0. At one side of the stage is a throne, somewhat elevated. DiDo, with ANNA and two other Carthaginian ladies, comes in while a slow stately march is being played, and walks slowly across the stage to the throne, where she seats herself as the ladies group themselves about her. Wwhnen the music stops, a confused noise is heard at the entrance. ILIONEUS and another captive Trojan are brought in by two Soldiers and take up their position before the Queen, but at a distance. Soft music should be played throughout the whole scene. The action should be stately and dignified.

ILIONEUS

(Extending his hands to Dido in supplication]

O rēgīna, novam cui condere Iuppiter urbem L138] SCENE III

Iūstitiāque dedit gentēs frēnāre superbās, Trōes tē miserī, ventīs maria omnia vectī, Ōrāmus: prohibē īnfandēs ā nāvibus ignis, Parce piō generī et propius rēs aspice nostrās. [Dido makes a sign, and he draws nearer while the soldiers fall bacā. Est locus, Hesperiam Grāī cognōmine dīcunt, Terra antīqua, potēns armīs atque ūbere glēbae; Hic cursus fuit, Cum subitō adsūrgēns fluctū nimbōsus Orīōn In vada caeca tulit penitusque procācibus Austrīs Dispulit; hūc paucī vestrīs adnāvimus ōrīs. [A slight pause. Rēx erat Aenēās nōbīs, quō iūstior alter Nec pietāte fuit nec bellō maior et armīs. Quem sī fāta virum servant, sī vēscitur aurā, Nōn metus. Officiō nec tē certāsse priōrem

Paeniteat.

DIDbŌ Un a kindly tone]

Solvite corde metum, Teucrī, sēclūdite cūrās. Quis genus Aeneadum, quis Trōiae nesciat urbem Virtūtēsque virōsque aut tantī incendia bellī? Seu vōs Hesperiam magnam Sāturniaque arva Sīve aliōs rēgēs aliamque optābitis ōram, Auxiliō tūtōs dīmittam opibusque iuvābō. Voltis et hīs mēcum pariter cōnsīdere rēgnīs, Urbem quam statuō vestra est, subdūcite nāvīs: Trōs Tyriusque mihī nūllō discrīmine agētur. Atque utinam rēx ipse Notō compulsus eōdem Adforet Aenēās! Equidem per lītora certōs Diīmittam et Libyae lūstrāre extrēma iubēbō,

L139] DIDO

Sī quibus ēiectus silvīs aut urbibus errat.

CAeneas, who has stood behind the curtain at the other end of the stage with Achates, is revealeād as the curtain is drawn farther back. All look at them in surprise as Aeneas advances and begins to speak.

AENEAS

Cōram, quem quaeritis, adsum Trōius Aenēās, Libycīs ēreptus ab undīs. Ō sōla īnfandōs Trōiae miserāta labōrēs, Nōn opis est nostrae grātēs persolvere dignās. Dī tibi digna ferant. Quae tē tam laeta tulērunt Saecula? Quī tantī tālem genuēre parentēs? In freta dum fluviī current, dum montibus umbrae Lūstrābunt convexa, polus dum sīdera pāscet, Semper honōs nōmenque tuum laudēsque manēbunt, Quae mē cumque vocant terrae.

(He and Achates shake hands joyfully with the other : Trojans.

DIDōŌ [With great interest]

Tūne ille Aenēās, quem Dardaniō Anchīsae Alma Venus Phrygiī genuit Simoentis ad undam? Tempore longinquō cāsus mihi cognitus urbis Trōiānae nōmenque tuum rēgēsque Pelasgī. Quārē agite, ō tēctīs, iuvenēs, succēdite nostrīs. Mē quoque per multōs similis fortūna labōrēs Iactātam hāc dēmum voluit cōnsistere terrā.

[Dido rises and gives her hand toAeneas, and theywalk out

across the stage slowly to the music of a march, fol-

lowed by the other Trojans, each by the side of one of the Carthaginian ladies. Thesoldiers bring up thereor.

L140] SCENE IV

SCENE IV

The palace of Dipo. There are three tables, of which the central one is for DIDO and AENEAS. Those on the sides are set obliquely, so that all sitting behind the tables can see Dibo and AENEAS. Each of these is for four or six guests, half of them men and half women. The men and women are arranged alternately, Brrias being next to Dibo. One place is left vacant for ACHATES. There is a small space between the tables to allow passing. On the tables are vases with flowers, and goblets. Several large covered dishes are being carried out at the opening of the scene by three menservants. Wwhen they are gone, three maidservants bring in baskets with fruit, which take the place of the dishes. The first part of the conversation

goes on during this action. DIDŌ

(While Dido speaks to Aeneas, the people at the other tables converse with each other in a low voice and glance at them occa-

sienally] Laetus est hic diēs mihi et populō meō, quō tū et comitēs tuī tēctīs nostrīs succēditis. Unum tantum dē-

sīderō — fīlium tuum. AENEAS

Brevī tempore, ut spērō, aderit. Achātem, fidēlis- simum amīcum meum, mīsī ad nāvēs ut eō duce puer

accēdat. 2īDē

Grātum fēcistī. Magnopere mīror sitne fīlius patrī similis, ut eius quoque fortia facta exspectēmus.

AENEAS

Dīcere nōn possum, rēgīna, quam grāta nōbīs sint beneficia tua. Errantēs, egēnōs nōs recēpistī, ut melius nōbīs esse nōn posset, sī in nostrās sēdēs pervēnissēmus.

DIDO Utinam fāta dedissent ut haec urbs nōn sōlum Poenō- rum, sed Trōiānōrum sit domicilium.

[141] DIDO

AENEAS Fīet quod dīs placēbit. Tū quidem, rēgīna, [Bowing to her] semper nōs obligātōs habēbis, quodcumque fāta ferent.

Enter ACHATES, and CUPID dressed as Ascanius, carrying gifts. They are conducted by a Servant, who brings them before DibpO and AENEAS, then stands near Dipoōs chair.

AENEAS [Rising] Hic est ille, dē quō dīximus, quem habeō fidēlissimum omnium [Achates bows to the queen], et fīlius meus Ascanius [Laying his hand on Cupid’s head], quem spērō virum fortem et bonum rēgem populī suī futūrum

esse. : D1DO

CSeiging Cupid by the hand and drawing him around to a chair between her and Aeneas] Salvē, mī puer, et tuā et patris tuī causā. [Noticing the gifts] Quid autem habēs in

manibus? CUPIDO

Sunt haec dōna, quae ē nāvibus tibi adportāmus. [Bowing to Dido] Grātum erit nōbīs, rēgīna, si haec accipere dignāberis.

D1DO

Grātiās maximās agō tibi et omnibus vōbīs [Looking at Aeneas and Achates]. Haec numquam exspectāvissem ab eīs quī modo naufragium fēcērunt. Sunt sine dubiō dōna pretiōsissima, quae tam longē ab urbe vestrā advexerītis.

CShe takes them, looks at them in admiration, as do

several of the others, who have come near for the purpose. Then they go back to their places and

Lr42] SCENE IV

Dido gives the gifts to the servant by her side, who carries them out carefully. Achates has taken the vacant chair at one of the tables. Cupid takes much interest in what goes on after this, and is occasion- aly smiled at and petted by Dido and Aenasas.

DIDO Hunc diem fēstum et fēlīcem celebrēmus ut decet.

[Two menservants bring in a great bowl which they set on a bench in front of the central table, and then go out. Two maidservants fill the goblets by means of ladles, and place them before the guests. These engage in lively conversation and laughter meanwhile, holding up the goōblets to look at the color of the contents. The increase of cheerfulness all around should be noticeable. When the glasses are filled, the servants withdraw.

DIDO [As she rises, a hush falls on the rest. She holds a small glass, and speaks slowly and distinctly. When she lifts up the glass, all rise and stand while the following words are spoken] Iuppiter, hospitibus nam tē dare iūra loquuntur, Hunc laetum Tyriīsque diem Trōiāque profectīs Esse velīs, nostrōsque huius meminisse minōrēs. Adsit laetitiae Bacchus dator et bona Iūnō, Et vōs, ō, coetum, Tyriī, celebrāte faventēs.

CShe pours the libation on the table solemnly, after which the rest are seated. Then at once she becomes more cheerful, takes her big cup and, touching it to her lips, suddenly raises it high and says] Iam proelium restat cum vīnō. Upbi sunt bellātōrēs fortissimī? UShe looks at the guests, who enter into the spirit

[143] DIDOŌ

of the occasion] Quis hoc pōculum capiet? Quis honōrem et fāmam suam dēfendet? Bitiā, tē vocō.

BITIAS [Rises promptly and stands straight before the queen. He is the one at the next table nearest to her] Parātus sum, rēgiīna.

Quid iubēs? DIDO

Hoc pōculum iubeō occīdere, sine morā, sine dubitātiōne.

BITIAS [Taking the cup and raisingit high] Fīet ut iubēs, rēgīna mea. [He drinks it off quickly and with gusto. -1īl the others, who have been looking on, cheer loudly and laugh.

Bitias sets the cup on the queen’s table, bows, and

is seated. DIDO

LSiapping him on the shoulder] Tū es vir, Bitiā. Quī tālēs mīlitēs habet, proelium facere potest. lHe rises and bows again and is seated.] Quis tālia facta aemulātur?

CShe looks around at the other men, tuo of whom im- mediately rise and raise their cups.

B

VIR I Ego, rēgīna.

VIR I1 Et ego.

D1DO

Virī factīs suīs probantur. Videāmus quis cum Bitiā

contendat. VIR I

In nōbīs, rēgīna, nōn fallēris. (They raise their glasses and drink like Bitias. All

applaud and laugh again, Dido, Acneas, and espe- cially Cupid joining heartily.

[1a44] SCENE IV

Enter Iopas, an old man with long gray beard and hair. He has a lyre, and is led by a Maidservant, who conducts him to a stool before one of the side tables. As he comes in, Dibo, who with the others has taken her seat again, speaks, pointing to him in high spirits.

DIDO Ecce, Bacchum Musae sequuntur.

1ō0PAS

CAfter playing a short prelude on the lyre, the music of which may be furnished by a piano near by, he begins to chant in a slow and stately manner, accompanied softly on the piano, while he touches the strings of the lyre with his fingers]

Errantem canimus lūnam sōlisque labōrēs,

Unde hominum genus et pecudēs, unde imber et ignēs, Arctūrum pluviāsque Hyadas geminōsque Triōnēs; Quid tantum Ōceanō properent sē tinguere sōlēs Hībernī, vel quae tardīs mora noctibus obstet.

(IVhen he is through singing, after a short postlude, he stops playing, and they all applaud long and loud. He rises and bows. Dido with her own hands flls a cup and hands it to the servant, who gives it to him. He turns toward Dido and the guests, bows, drinks, and then speaks.

IoPASs Prō tantō beneficiō dī vōbīs grātēs persolvant, ut meruistis. [Then he is led out. DIDO

Est quidem hōc diē nōbīs datum gaudium atque laetitia. Nē tamen oblīvīscāmur hospitēs nostrōs egēre auxiliō. Ut ego vōs nōvī, cīvēs meī, [Zurning to them]

L145] DIDO

necesse nōn est vōs diū rogāre ut eōs iuvētis. Ipsī vōs doctī estis perīculīs, fortūnā maris et terrārum, quid sit

egēre amīcō. BITIAS

LRising promptly] Grātiās agimus, ō rēgīna, prō tālī sententiā. Quidquid in nōbīs est vīrium, exercēbimus ad eōs iuvandōs. Dum Ttōiānī adsunt in nostrā urbe, nōs ipsī tūtiōrēs sumus. Eōrum fāmā factīsque, per tōtum orbem nōtīs, aliī quoque dēfenduntur. Utinam igitur eīs placēret inter nōs manēre, sociārī nōbīscum, partemque urbis nostrae prō sēdibus perpetuīs accipere.

[The Carthaginians cheer. AENEAS

[Rising] Nōn est vīrium meārum neque ingenī meī dīcere quantō gaudiō commōtus sim verbīs istīs audītīs. Maiōra beneficia iam accēpimus quam per multōs annōs rependere possīmus. Neque, sī līberum esset iūdicium, quicquam nōbīs grātius esset quam coniungere nōs cum populō Carthāginiēnsium. Sī haec est deōrum voluntās, nōbīs vērissimē placēbit. Sub dīs cōnscendimus aequor, incēnsā patriā nostrā, eōrum manibus nostra omnia trā- didimus, eōrum arbitriō nōs sēdēs quaerimus in futūrum. Ut sē rēs habent, accipimus auxilium quod tam benignē vōs dedistis, manēbimus vōbīscum quam diū dī immor- tālēs nōs manēre volent. In omnibus rēbus rēgīnā vestrā [Bowing to Dido] et vōbīs [70 them] nōs dignōs ostendere cōnābimur. Civēs vestrī, sociī, et comitēs erimus, sī dīs placēbit; omnī autem tempore, ut spērō, amīcī et benevolentēs.

[He sits down. All except Dido and Aeneas rise and cheer. Standing thus they suddenly burst out in

Cr46] SCENE IV

the following song, all raising their hands toward Dido and Aeneas during the singing of the frst two lines of each stansa. The curtain falls as they are singing the last line.:

Salvē tū, rēgīna nostra,

Semper tē laudābimus.

Seu malae rēs, seu secundae,

Nostra spēs es optima.

Et tū salvē, noster hospes, Semper tū laudāberis, Bellō clārus, pāce miītis Rēx dīlectus omnibus.

1 Music on p. 174

l t471 ANDROMEDA ANDROMEDA

PERSONAE

CĒPHEĒUS, king in Ethiopia (Scenes I, II, IV, V)

CassiorĒ, his queen (Scenes I, II, IV, V)

SERVUS, a servant in the palace (Scenes I, V)

NūNTIUS, a messenger from the temple (Scene I)

Cīvēs I and II, two citizens of the country (Scenes I, III, V)

ANDROMEDA, daughter of Cepheus and Cassiope (Scenes II, IV, V)

SACERDō;sS, a priest (Scenes II, III)

CHORUS VIRGINUM, friends of Andromeda (Scenes II, III, IV, V)

Mvutīerēs I, II, and III, three women of the city (Scenes III, V)

PĒERSEUS, son of Zeus and Danae, betrothed to Andromeda (Scenes Iv, V)

PHīNEUS, formerly betrothed to Andromeda (Scene V)

SīLENT CHARACTERS, a maidservant in the palace (Scene I, several men and women of the city (Scenes III, V), an attendant of the priest (Scene III)

The place is a city and the seashore in Ethiopia, in mythological times.

[150] ANDROMEDA

SCENEI

A room in the palace of CEPHEUS and CassiopE. There is a Maidservant in the background. CEPHEUS is seated. CAssIOrE is walking about as if disturbed and preoccupied.

CEPHEUS Mīror, rēgīna mea, cūr tam sollicita sīs. Antehāc semper omnēs superāvistī laetitiā. īam per tōtum diem tē videō cūrīs oppressam. Quidquid tē angit, petō ut

patefaciās. CASSIOPE

Nihil est. Aut sī quid est, ipsa dīcere nōn possum quid sit. Neque causa est cūr dē tē aut dē aliō homine querar. Semper enim tē bonum coniugem cognōvī. Veniam petō sī per mē dolēs.

CShe lays her hand on his arm and sits down by his siae.

CEPHEUS

Dolōrem nōn capiō nisi ē dolōre tuō. Uxor enim fuistī omnium optima. Mīrum est tamen, cum anteā semper laeta fuerīs, cum gaudium cēperīs ē fīliā nostrā et omnibus rēbus quae mātrī et rēgīnae sunt cūrae — mīrum est iam tē ex eīsdem hīs nihil nisi maestitiam capere. Andromeda nostra est optima fīlia et pulcher- rima tōtīus terrae, ut semper fuit.

L151] ANDROMEDA

CASSIOPE

Est bona, est pulchra fīlia. Ēheu, timeō nē sit nimis

pulchra, nē propter eius pulchritūdinem ipsa nimis gā- vīsa sim.

Enter SERVUS; he bows.

SERVUS Adest nūntius, rēgīna mea, quī dīcit sē iussū deōrum

advenīre. CASSIOPĒE

Ēheu, id quod timuī. Dī fortūnae hominum invident. LAfter a pause, in a depressed voice] Admittātur nūntius.

[The servant bows and goes out.

Enter NUNTIUS; he stands looking sternly at the king and queen.

NUNTIUS Adsum nūntius deī suprēmī huius terrae. Audīte animō aequō cum pietāte quod deus mē dīcere iussit.

CEPHEUS Parātī sumus audīre. Sīve dūrum sit, sīve laetum, deō pārēbimus. NUNTIUS Nē suprā deōs sē extollant quī mortālēs sunt nātī. Quōrum est potentia, eōrum dēbent esse laudēs. In hāc rē quoniam errātum est, supplicium quoque nōn deerit. Propter ūnīus fēminae adrogantiam [Looking at the qucen] dolōribus opprimentur omnēs. Haec deus nūntiārī voluit.

[He turns and walks slowly away. Cepheus looks amased, Cassiope depressed.

L152] SCENEI

CEPHEUS [0 the queen, who sits with downcast face] Hōc dūrō nūn- tiō quid portenditur? Dīc, rēgīna mea, quae sententia tibi sit in animō. [Cassiope remains silent, with a growing expres- sion of suffering on her face, which slowly sinks into her hands] Nē dolōrī tē dēdās, rēgina mea. [Xindly] Quidquid id est, ā mē, rēge et coniuge tuō, ab omnibus cīvibus tēcum

tolerābitur. CASSIOPE

[Looking up wildly] Per mē, per mē omnēs perībunt. Ego sōla et tē et fīliam meam et populum nostrum perdidī. Ō miseram mātrem, ō miseram fīliam, quam pulchriōrem esse putāvī quam beātās illās immortālēs.

Her head sinks down in deep grief. The maidservant and Cepheus conduct her away.

CEPHEĒUS returns; he walks up and down in anxious thought.

CEPHEUS

Est vērum quod dīxērunt sapientēs. Homō nē putet sē similem esse deōrum. Id caveat suprā omnia. LHe is silent and continues walking] Hoc erat quod rēgīnam maestam te- nēbat. [He walks as before, then stops] Quam calamitātem iam exspectem? Horrenda erant illa verba, “dolōribus oppri- mentur omnēs.” [He begins walking again and shakes his head sadly] ō Fortūna, minimē tibi crēdere dēbēmus. Utinam līberōs numquam habuissem. lAe sits down in deep thought.

Enter SERVUS; he bows.

SERVUS Adest cīvis huius urbis, quī colloquium petit cum rēge.

f1553] ANDROMEDA

CEPHEUS [After a pause] Admittātur. [The servant goes out.

Enter Civis I; he stands respectfully at a distance.

CIvIS I Licetne dīcere, rēx optime, quod omnium cīvium

maximē interest? CEPHEUS

[Zooking up] Semper parātus sum audīre quod cīvēs

meī dīcunt. cIvIS I

Missus sum quī tē certiōrem faciam cīvēs tuōs per tōtam urbem cum servīs suīs perīre. Cum ad hanc hōram omnēs fuerint incolumēs, subitō corruunt et moriuntur. Omnia sunt plēna maerōris. Auxilium petimus, domine.

[He holds out his hands. A wailing is heard outside.

CEPHEUS Auxilium petitis, quod libenter dabō sī poterō. I[īhe citigsen bows and goes out. The wailing is heard again.] O miserum populum! Ō miserum rēgem! Contrā deōs quis iuvāre potest?

Enter SERVUS as before.

SERVUS Adest homō quī vēnit ex agrīs.

CEPHEUS CSadly] Admittātur. [The servant goes out and Cassiope enters, looking resigned and earnest, and seats herself beside the

L154] SCENEI

king, who does not notice her and speaks to himself] Hominēs moriuntur. Corruunt in mediā viā.

The man from the country, Civis I1, enters greatly excited.

Quod malum iam restat?

cIvis I1 Cēreathlessly] Advēnī quam celerrimē ā marī. Horreō cum dīcō quid ibi vīderim. Ingēns mōnstrum, ō rēx, ē fluctibus oriēns in terram ēgreditur. Tōtum agrum iam vāstāvit. Aedēs hominum Ilātē iam dēlēvit. Fugiunt miserī neque tamen sē servāre possunt. Ipse vix effūgī. Nisi auxilium inveniētur, omnēs nōs perībimus.

CEPHEUS Malum īnfīnītum in hanc terram incidit. Deī ipsī dē nōbīs poenam petunt. Hoc tantum dīcere possum: Quod in rēgis est potestāte, fīet ut auxilium ferātur.

[The man goes out. Cepheus is silent.

CASSIOPE [Ēarnestly] A dīs est hic dolor, ā dīs petendum est remedium. Mea est culpa. Quidquid impōnent, ferre

parāta sum. CEPHEUS

[More hopefullyl] Optimam viam invēnistī, rēgīna mea. Ut semper ārās cumulāvimus honōribus, ex illā pietāte iam spērāre possumus auxilium. Cōnsulāmus deōs, nam eōrum est summa potestās. (They go out as the curtain falls. ANDROMEDA

SCENE II

The space in front of the temple of Jupiter Ammon. There is an altar in the center near the front of the stage. CEPHEUS and CassīoPE, leading ANDROMEDA between them, come slowly upon the stage, followed by a chorus of girls, companions of ANDROMEDA. They are all in mourning except ANDROMEDA. When they reach the front of the temple they halt, the chorus standing behind the

others. CEPHEUS

Hoc iter, omnium maestissimum, iam perfēcimus. Quod deus iussit, est perāctum. Tē, fīliam nostram, quam pulcherrimam accēpimus ā dīs, eīs iam reddimus. Haec est fortūna rēgnantium. Servī sumus popul. Quod malum est cīvium, multō maius malum est rēgis.

CASSIOPE

Et omnium maximum malum rēgīnae. Tū sōla es fīlia

mea, fīlia cārissima. [She puts her arm around Andromeda's

neck] Tē sōlam amāvī, tuā pulchritūdine et pietāte gāvīsa

sum. Per tē mihi vīsa sum pār deābus. Utinam prō tē patī possem quod meā culpā patiendum est.

ANDROMEDA

Nōlī dolēre, māter mea. Nēminī vīta data est in perpetuum. Ille diūtius, hic brevius eius commodīs fruitur. Sī vōbīs probāta sum, nihil amplius optō. Quod sum libenter dabitur, dummodo tū et pater et populus servēminī. CShe embraces her mother, who weeps on her shoulder and then turns sadly away. Andromeda āisses her, then turns to the girls] Neque vestrī, cārae comitēs meae, oblīta sum. Sī melior fortūna fuisset, vōbīscum multōs

[156] SCENE II

annōs vīxissem; postrēmō rēgīna vestra fuissem. Iam valēte et memoriā mē tenēte, ut ego vōs tenēbō dum vīta manēbit.

CShe embraces them, one by one. Meanwhile the priest in impressive robes, with u staff and a chain, has appeared from the temple. They bow before him, and he begins to speak.

SACERDOS

Quī suprā deōs sē extollit, eōrum potentiā dēprimitur. Haec audīte quae per mē ā deō vōbīs nūntiantur. Mala omnia huius terrae fīnem habēbunt cum causa malōrum sublāta erit. Mōnstrō, quod in marī vīvit, quod terram vāstat et hominēs et pecus necat, haec virgō, ūna prō omnibus, dabitur deī dēcrētō. (Cassiope and Andromeda fall into each others arms, overcome with sorrow. The others raise their hands in grief and weep] Per mē, sacerdōtem ipsīus deī, vinciētur et ad mare dūcētur, ubi vinculīs tenēbitur tam diū quam dīs placēbit. Haec terra et eius incolae erunt sospitēs ex eō tempore quō virgō ad saxum religāta erit, modo sit animō volente.

ANDROMEDA [With determination, raising her head and holding out her hands to be bound by the priest, while her mother continues weeping on her shoulder] Parāta sum. Vincīte manūs. Modo per meam poenam reliquī omnēs sint malīs suīs līberātī. Nē flēverīs, māter mea, fīlia tua dēdecorī tibi nōn erit. Libenter moriar, dum omnibus sit remediō. Comitibus meīs omnibus dīc mē eās amāre, ac iam valēte. [She embraces her father, then her mother. The priest advances, puts the chain on her hands, and slowly

[1571] ANDROMEDA

leads her away. She walks with resigned but firm step. While her parents stand sadly gasing after, the chorus slowly sings the followeing stanxsas, during the last lines of which the curtain falls.

CHORUS LSingingī] Iam valē, puella dulcis Fīliārumque optima; Nōbīs, dum vīvēmus, semper Tū manēs cārissima.

Prō parentibus, prō nōbīs Vītā tū prīvāberis,

Stella sed caelō pōnēris Et lūcēbis omnibus.

SCENE III

The space in front of the temple of Jupiter Ammon, as in the preceding scene. The altar has garlands hung on it. At first there is no one on the stage, then tvo Women enter talking.

MULIERI

Hic est diēs vērē laetus, quem numquam fore spērā- vimus. Modo omnēs vidēbāmur capitis damnātī. Moriē- bantur nūllō discrīmine senēsque iuvenēsque. Iam vīvunt flōrentque, et rēs suās secundās vident.

MULIER II Ita. Mortis perīculō et omnibus malīs, quae tam subitō in terram nostram inciderant, iam līberātī sumus.

1 Music on p. 174. L1s8] SCENE III

MULIER I lPointing] Vidēsne āram sertīs cumulātam? Diēs erit vērē fēstus omnibus. Supplicātiō dēcrēta est per tōtam urbem atque terram. Etsī nōndum est secunda hōra, tamen viae sunt complētae hominibus.

MULIER II Haec omnia dēbentur deō, cuius benevolentiā servātī

sumus. MULIERī

Eī tamen, miserī hominēs, quōs mōnstrum illud dē- vorāvit, hōc diē nōn gaudēbunt. Cum sīs mortuus, diēs

fēstī nōn iuvant. MULIER l1

Favē linguā. Ista verba deō minimē placēbunt.

MULIERI Sine dubiō. Eīs autem quī patrem aut fīlium āmī- sērunt, hic diēs nōn gaudium, sed trīstitiam adferet

maiōrem. MULIER II

[Pointing] Ecce, estne illa vīcīna nostra, quae advenit?

MULIER I Ea non laeta est, meā sententiā Nōn ūnum sōlum fīlium, sed duōs, per mōnstrum illud āmīsit.

Enter a Woman, in mourning, with a wreath, which she hangs on a corner of the altar.

MULIER II Adadressing her] Gaudeō tē salvam esse, vīcīna mea.

C159] ANDROMEDA

MULIER III Grātiās agō, quod mē tam benignē adloqueris.

MULIER I Valetne coniūnx tuus?

MULIER III Valēmus ambō, sī validī sunt eī quōrum fīliī sunt

mortuī. MULIER II

Male factum in fīliīs vestrīs. Tamen beātī estis quod tam bonī semper fuērunt.

MULIER III Bonīs, ut vidētur, mātūrius moriendum est. O ffīliī meī, utinam adhūc vīverētis. CShe weeps. MULIER I

Nē doleās. Sumus omnēs mortālēs. Nē rēx quidem suam fīliam servāre poterat.

MULīER II Etsī rēx est omnium, tamen mōnstrō dare fīliam coāctus est. MULIER I Ita est sors hominum. Sīve rēgēs, sīve pauperēs sumus, omnēs malō aliquō labōrāmus.

MULIER II Quārē patiendum esse putō quod prohibēre nōn pos- sumus. Melius mihi vidētur bonō fruī quod nōbīs con- cēditur ā dīs, quam nimis dolēre propter mala. [160] SCENE III

MULIER 1

Rēgis fīliae mē miseret. Dīcunt eam vinctam catēnīs sōlam sedēre ad mare, ubi mōnstrum cotīdiē ēgreditur. Dūrius est hoc ferre cum sīs rēgis fīlia simul et pulcher- rima omnium puellārum.

MULIER III

[Drying her eyes] Est hoc vērō dūrissimum. Potius paene mālim fīliōs meōs esse mortuōs quam semper vīvere in tālī sollicitūdine.

MULIER II Fertur rēgīna ipsa huius malī fuisse causa, cum pul- chritūdinem fīliae suprā deārum extolleret.

MULIER 111 Hoc dīcō semper, quod vērum esse repperī, deōs esse dominōs nostrōs, quibus hominēs concēdere oporteat.

CSeveral men and women, among them the tuo citisens of Scene I, come upon the stage, followed by the chorus in festive garō, with garlands in their hair, who stand in a semicirele behind the altar.

MULIER II Vidē, iam accēdunt hominēs. Tempus adest quō deō

sacrificētur. MULIER 1

Quam pulchrae sunt illae virginēs cum corōnīs suīs! Cum eās videō, molestē ferō mē senem fierī.

The Priest appears from the temple. He makes preparation for the sacrifice, while the people are silent. Then he lights it

[161] ANDROMEDA

with a torch which is handed to him by an attendant. Then, standing directly behind the altar, he raises his hands to the sky and begius to pray.

SACERDOS

Juppiter omnipotēns, per tē vīvimus ēreptī perīculīs, per tē negōtia nostra agimus omnia. Tū es suprēmus omnium deōrum, tū regis caelum et terrās, tū sōlus es dignus summīs laudibus et summō honōre. Precāmur ut nōs respiciās hōc diē et in futūrum, atque benevolēns et propitius sacra nostra accipiās. Maximē petimus ut spectēs grātum animum huius populī, quem servāvistī et ēripuistī ē maximīs periculīs.

s he walks slowly back toward the temple the chorus begins to sing. CHORUS LSinging1] Audī nōs cum tē vocāmus, Summe rēx caelestium; Es tū dignus quī laudēris Sōlus ā mortālibus.

Vītam nōbis reddidistī, Summe rēx caelestium; Ex tuā manū fruēmur

Prō dolōre gaudīō.

In caelō dum sōl lūcēbit, Summe rēx caelestium, Vīvet hic diēs per annōs Cōnsecrātus laudibus.

1 Music on p. 175.

L162] SCENE IV

SCENE IV

A spot by the seashore. ANDROMEDA, her hands chained fast to a rock, is sitting with her head bowed.

ANDROMEDA

[Raises her head slowly and lifts her hands to the length of the chains, then lets them sink again and looks at the chains] Per diēs, per noctēs hīc vigilō, sōla et dēserta. Nōn omnīnō sōla tamen, nam vōs, vincula mea, semper adestis. Praeter vōs nūllōs iam habeō parentēs, neque amīcōs, neque comi- tēs. Praeter hoc saxum nūllam habeō domum. Hcc lītus est patria mea. Vōs, sīdera, et sōl quī radiīs tuīs mē ad- hūc respicis, vōs estis deī. Nam aliōs nōn habeō. Iuve- nisne sim an senex nesciō, nec rēfert. Dolentī iuventa pār est senectūtī. (After a pause] Rēgis fīliam dīcunt mē fuisse, pulcherrimam quae esset in tōtō orbī terrārum. Per noc- tem in somnīs adhūc mihi videor lībera. In somnīs videō patrem rēgem mātremque rēgīnam. Posteā cum diēs ex- orītur, omnēs abiērunt. Sī ipsī adveniunt, procul astant lacrimantēs, neque mē appellāre audent, neque respondēre appellantī. Miserī sunt quōs vinculīs meīs morte līberāvī — Ilīberāvi et cotīdiē līberō] Nam omnium terrōrum maximum est mōnstrum illud, quod semper mē necāre minitātur, neque tamen mē necat. Quantus timor me invādit eius ōs atque oculōs videntem. Timeō, eademque gaudeō. Nam hōc meō timōre tōtam terram ab omni- bus perīculīs dēfendō. Nōnne hoc est tantī? Cshe rises up and stands proudly erect] Ego, īnfīrma puella, digna aestimor ā dīs immortālibus, quae vītam tot hominum cūstōdiam.. Per mē vīvunt, per mē laetantur.

[165] ANDROMEDA

CShe sits down and sinks into thoughtful silence. Sud- denly a swishing sound is heard, as of wings, which causes her to look up in surprise and expectation. It is heard again, and she turns toward it, but turns away again and casts her eyes on the ground when PERSEUS appears.

PERSEUS

[Ēntering rapidly, stops short before her in surprise. He has a helmet, winged sandals, and a short curved sword, and holds his shield with the Gorgon’s head on it averted, but so that the audience can see the device] Quem videō? Dfīc, virgō. An es dea? C[Noticing her chains] Quis te hīs vinculīs adli- gāvit? Per deōs iūrō, tam pulchram et tam miseram mē nōn vīdisse in tōtō itinere meō. Quisquis est [He raises his sword] quī hīs cruciātibus tē adfēcit, etiam sī rēx sit huius terrae, per mē, virgō, līberāberis. [As she does not look up, he sheathes his sword and draws nearer] Cūr tam maesta es? Tam pulchram, tam bonam virginem laetam esse decet. Nōn crēdō tuā culpā hoc supplicium tē patī. Quidquid est quod tē dolēre coēgit, iam satis doluistī. īra neque deērum neque hominum semper manēre dēbet. [He draws still nearer and speaks in a kindly tone] Quī sunt parentēs tuī? Vivuntne adhūc? Habēsne frātrēs, sorōrēs, cognātōs? Quae terra tē genuit? [Ap- pealing to her] Dīc, virgō, per dolōrem tuum et pulchritū- dinem tē ōrō, et fac mē certiōrem.

ANDROMEDA (Looking up] Vidēs eam quae damnāta est ā dīs. Quis- quis es, advena, ōrō tē ut abeās. Sacer est hic locus, neque quicquam in eō invenītur nisi dolor atque maestitia.

1641 SCENE IV

PERSEUS

Tantō magis mē quaerere cōgis quis cāsus tē adflīxerit. Neque ego sum dīs ignōtus. Perseus sum, quī terrās pera- grō ad noxiōs pūniendōs et miserīs auxilium ferendum.

ANDROMEDA

Contrā voluntātem mihi persuādēs ut fāta mea pate- faciam. Deōrum īra et mātris meae adrogantia ad hoc saxum mē adligāvērunt, ubi mōnstrum cotīdiē mē terret et mortem minātur. Sī quis hoc mōnstrum —sed quid dīcō? [n despair] Quis enim contrā deōs vītam daret in perīculum?

PERSEUS At tamen, sī quis hoc audeat, quid sit eius praemium?

ANDROMEDA

Nōlī mē, advena, lūdificāre. Tanta spērāre nōn licet. [A splashing of water and a great puffing is heard. Andromeda draws away frightened, as she and Perseus look in the direction of the sound] Mōnstrum! Mōnstrum adest! [Holding out her folded hands to Perseus] Servā mē, obsecrō, servā vītam meam.

PERSEUS

(Drawing his suord] Nōn frustrā ōrāveris.

(He walks away sturdily to meet the monster. A louder splashing, pufing, and roaring is heard, with re- peated blows, as if on the monsters back. Finally the noise subsides. Andromeda has been sitting in great fear and anxiety, looking on and holding her hands clenched before her. When the noise ceases she looks relieved.

[165] ANDROMEDA

PERSEUS (Entering with his sword red with blood] Hōc perīculō es līberāta. Nam mōnstrum est mortuum. Iam salva es et

lībera. ANDROMEDA

CGraterully] Numquam tibi, ut meruistī, grātiās agere poterō. Deus es, quī mē servāvistī.

PERSEUS USheathing his sword] Nōn deus, sed coniūnx tuus, ut spērō, nisi fāta obstant. lAndromeda sits with downcast eyes.

/

CEPHEUS, CASSIOFE, and the Chorus appear from the opposite side.

CEPHEUS Uoyfully] Estne vērus nūntius ille quem audīvimus? Diīcunt mōnstrum interfectum esse. [70 Perseus] Tūne es ille, iuvenis, quī per hoc factum nōs omnēs servāvistī?

PERSEUS Nisi fallor, vōs estis parentēs huius virginis. Ego sum Perseus, quī Gorgonem et hoc mōnstrum interfēcī, dīs ipsīs nōn ignōtus. CASSIOPE Utinam grātiās satis magnās tibi agere possēmus, ō iuvenis. Fīliam nōbis reddidistī, quam mortuam iam plōrābāmus. LShe and Cepheus shake Perseus hand.

CEPHEUS Numquam tibi praemium satis dignum praebēbimus, nisi gaudium patris et mātris tē dēlectat. [166] SCENE IV

PERSEUS Gaudiō vestrō vērō dēlector. Magis tamen gaudeam, sī mihi fīliam dētis in mātrimōnium.

CEPHEUS Honōre nōs dignōs aestimās quem numquam spērā- vimus. Sit tua, sī ipsa vult.

PERSEUS CGoes to Andromeda and holds out his hand. She has been sitting with her eyes on the ground] Sī idem velīs, ō virgō, quod volunt parentēs — dīcere nōn possum quam faciās mē beātum.

[Andromeda looks up and gives him her hand, which he grasps eagerly. As she does so, the chains fall from her and she rises with a happy smile. They go out slowly hand in hand, followed by Cepheus and Cassiope, and the chorus, who sing as they gv.

CHORUS LSinging] Noctem iam diēs fugāvit Quī tē vītae reddidit. Multōs annōs ūnī vivās Quae vīvēbās omnibus.

1 Music on p. 175.

1671 ANDROMEDA

SCENEV

Before the palace of CEPHEUS, on the wedding day of PERSEUS and ANDROMEDA. PHINEUS and two other men, the Citizens of Scene I, are standing outside the palace gate, armed with swords and shields.

civis 11 Ut mihi vidētur, frūstrā hīc morāmur. Aliō itinere

1

ībunt sine dubiō. civis 1 Id nōn crēdō. Per hanc portam semper iērunt marītī rēgiī. cIvis 11 Quod ad mē attinet, eant quālibet viā Dēfessus sum exspectandō. Nihil agimus dum hīc stāmus, nisi ut hominēs nōs inrīdeant. PHINEUS LAngrily] Satis iam est querēlārum tuārum. Ego sum dux huius negōtī. Vestrum est facere quod iussī. 7c Civis II] Putāsne minus mē hominēs inrīsūrōs esse, sī postrēmō iam dēficiam, cum per omnēs hōs annōs contenderim? civis 11 Per mē quidem [Shrugging his shoulders] faciās quidlibet. Sī tē nōn dēterret rīsus hominum, ego sum contentus.

PHINEUS Rēgem melius mē nōsse putāvī. Postquam fidem dedit, postquam fīliam suam dēspondit, iam aliēnō hominī, dē quō ante hoc tempus nēmō audīvit, nē hōc quidem dictō CSnapping his fingers] fīliam dat in mātrimōnium. L168] SCENEV

CIvIS I Est iniūria maxima, nōn tibi sōlum, sed omnibus cīvibus. Eī quī hoc rēgnum per multōs annōs dēfendē- runt ab hostibus, quī omnēs labōrēs prō rēge ipsō sus- tinuērunt, iam exclūsī sunt et relēgātī, quasi contrā

haec omnia fēcerint. PHINEUS

Mercēdem nōbīs dēbet, quā iam prīvāmur. Fīliam dare pollicitus est. Illam igitur postulō, nōn quod eam praeter aliās habēre mālim, sed quod iūs est eōs habēre praedam quī pugnāverint.

cIvIS 11 Est ut dīcis. Tamen nōn intellegō quid putēs tē facere posse iam cum diēs mātrimōnī adsit, cum novus marītus uxōrem suam domum dūcat.

PHINEUS Quid facere possim? Id spērō mē ante noctem dē- mōnstrātūrum esse. Nōnne nōs sumus trēs hominēs cum gladiīs? Saepe iam trēs hostēs ego sōlus occidī, nē putēs mē timēre ut contrā ūnum nōs satis valeāmus.

crvis 11 Dīcunt eum esse fortem. Sunt quī eum dīs ortum esse fingant. Certē nōn dubium est quīn mōnstrum

illud interfēcerit. PHINEUS

[Laughing] Fābulam istam audīvī. Eam crēdant puerī. Facile est causam invenīre, sī fidem servāre nōlīs. Sīc dīcās [7u a mocking tone]: “Hic fīliam meam līberāvit ā mōnstrō. Igitur missus est ā dīs. Igitur est ipse deus.

L169] ANDROMEDA

Igitur fīliam meam habēre dēbet. Nisi hoc fīet, deī erunt īratī. Deinde mōnstrum, quod mortuum est, redībit.” (He laughs.

The Chorus come in walking tuo and two, with garlands in their hair, as before, and followed by several men and women. They are singing when they enter and continue their song as they stand before the palace, facing the audience. While they are singing the last stansa, they pass on into the palace, fol- lowed by those who have come with them.

CHORUS CSingingī] Collis ō Helicōniī Cultor, Ōraniae genus, Quī rapis teneram ad virum Virginem, ō Hymenaee Hymēn, ō Hymēn, Hymenaee,

Cinge tempora flōribus Suāve olentis amāracī, Flammeum cape, laetus hūc, Hūc venī niveō gerēns Lūteum pede soccum,

Ac domum dominam vocā Coniugis cupidam novī, Mentem amōre revinciēns, Ut tenāx hedera hūc et hūc Arborem implicat errāns.

1 Music on p. 176. 170] SCENEV

PHINEUS CWhen they have ali gone in] Iam est agendum, nē deus iste manibus nostrīs effugiat. - [He walks up to the gate and knocks with the hilt of his

sword. A Servant comes. SERVUS

Quis pultat? Quid vultis?

PHINEUS Novum marītum petō ut vocēs extrā portam. Est quod cum eō conloquī volō.

SERVUS Eum vocābō. [He goes in. The three take up a threatening position a little distance from the entrance, and examine their swords to see if they are in good condition.

PERSEUS [Coming out with his shield behind him, which he leans against the wall with the Gorgon’s head averted. He is smiling and hows to the men] Vōsne mē vocāvistis? Quid mihi dīcere vultis?

PHINEUS CStepping forward a pace or tuo] Nōn diū tē morābimur. Linguā nōn loquēmur, sed gladiō.

[As he says this, they draw their swords and advance along the back of the stage as if to cut off his retreat. Perseus gquickly takes up his shield and turns the Gorgons head toward them, whereupon they become rigid and stand in that attituae to the end of the scene. Their positions should be as varied as possible

L171] ANDROMEDA

PERSEUS [Turning his shield so that the audience can see the head] Sīc semper fīat eīs quī dīs minitantur. [He goes into the palace.

In a little while the Chorus is heard singing within. After a line or tuo they come out, walking tuo and tuo, as before, singing as they do so, and stand grouped before the door till they reach the last stanga. Then they move away, and complete the song as they go. They are followed by PERSEUS and ANDROMEDA, CEPHEUS and CASSIOPE, and the other men and women. The curtain falls just as the song closes, while the last ones are moving

across the stage. CHORUS

LSingingī] Quis deus magis anxiīs Est petendus amantibus? Quem colunt hominēs magis Caelitum? Ō Hymenaee Hymēn, ō Hymēn, Hymenaee.

Nīl potest sine tē Venus, Fāma quod bona comprobet, Commodī capere: at potest Tē volente; quis huic deō Comparārier audet?

Omnēs vōs simul, integrae

Virginēs, quibus advenit

Pār diēs, agite in modum

Dicite, “Ō Hymenaee Hymeēn, ō Hymēn, Hymenaee.”

1 Music on p. r76. L172] [OCR skipped on page(s) 185-232]