<GetPassage xmlns:tei="http://www.tei-c.org/ns/1.0" xmlns="http://chs.harvard.edu/xmlns/cts">
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                <requestUrn>urn:cts:latinLit:phi0119.phi006.perseus-eng2:855-963</requestUrn>
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                <urn>urn:cts:latinLit:phi0119.phi006.perseus-eng2:855-963</urn>
                <passage>
                    <TEI xmlns="http://www.tei-c.org/ns/1.0"><text xml:lang="en"><body><div xml:lang="eng" type="translation" n="urn:cts:latinLit:phi0119.phi006.perseus-eng2"><div type="textpart" n="855" subtype="card"><stage>Enter MYRRHINA and PARADALISCA, from the house of STALINO.</stage><sp><speaker>MYRRHINA</speaker><p> Having been well and handsomely entertained indoors, we've come out here in the street to see the wedding-sports. I'd like to know how Chalinus gets on—the newly-married bride with her new-made husband. Never, upon my faith, any day did I laugh so much, nor in the time that's to come do I think I shall laugh more; and no poet ever did con trive a more artful plot than this was skilfully contrived by us. I'd now very much like the old fellow to come out, with his face well battered, than whom there is not a more wicked old man alive. Not even him do I deem to be more wicked who finds the room for him. Now, Pardalisca, do you be guard here <stage>pointing to the door of her house</stage>; that whoever comes out from here, you may have some sport with him.
</p></sp><sp><speaker>PARDALISCA</speaker><p> I'll do it with pleasure, and in my usual way.</p></sp><sp><speaker>MYRRHINA</speaker><p> Observe from here everything that's going on indoors.</p></sp><sp><speaker>PARDALISCA</speaker><p> Prithee, get behind me. </p></sp><sp><speaker>MYRRHINA</speaker><p> You have liberty, too, to say freely and boldly to him anything you like.</p></sp><sp><speaker>PARDALISCA</speaker><p><stage>in a low voice</stage>. Be quiet; your door makes a noise. <stage>They hide themselves.</stage></p></sp></div><milestone unit="scene" n="2"/><div type="textpart" n="875" subtype="card"><stage>Enter OLYMPIO, in great alarm, from the house of ALCESIMUS.</stage><sp><speaker>OLYMPIO</speaker><p><stage>bawling aloud</stage>. Neither where to fly to, nor where to conceal myself, nor how to hide this disgrace, do I know; so much have my master and myself been supereminently disgraced at these nuptials of ours. I'm now so ashamed, and now so afraid, and so ridiculous are we both. But, a simpleton, I'm now doing what's new to me: I'm ashamed at that which has never shamed me before. <stage>To the AUDIENCE.</stage> Lend me your attention, while I repeat my exploits; it's worth your while to catch them with your ears; so ridiculous to be heard, to be repeated, are these mishaps which I have met with in the house. [When straightway<milestone n="880" unit="line"/>
                     <note anchored="true"><q>When straightway</q>:  With this line commences a part of the Play which is in a very imperfect state, and as to the reason for the appearance of which in that form the Critics are divided in opinion. As it is full of the grossest indecencies (which have precluded the possibility of translating some parts of it), it has been suggested that Plautus himself wrote it in this fragmentary form, as being sufficient to show his meaning, without displaying these indelicacies in all their amplitude. Another opinion is, that these passages are really the composition of Plautus, but that they have been reduced to their present state by lapse of time, or possibly, by reason of the MSS. having been subjected to castration by the fastidious students of the middle centuries. A third opinion is, that the portion between this line and l. 927, and some few lines in the next Scene as well, were not the composition of Plautus, but that they were composed by some of the learned in the middle ages, to fill up the hiatus which existed in this part of the Play, or was supposed to exist there. If so, the writers might certainly have employed their time and talents to better advantage, as they have fairly distanced Plautus in the very worst of his indecencies.</note> I had led my new-made bride into the room, I fastened the bolt; but, however, the gloom there was just like the night. I placed, I propped things against the door; I struggled hard<milestone n="883" unit="line"/>
                     <note anchored="true"><q>I struggled hard</q>: This word is given as "mollio," "to soften," in all the Editions. "Molio" seems much more appropriate, and is used by Frontinus in the some sense as "molior."</note> that before the old fellow * * * * with my bride. Then I began to be slow in my proceedings, for I looked behind me every now and then, lest the old fellow should break in * * * * *, a kiss, that provocative to lust, I asked of her first. She pushed back my hand, and allowed me not to give her a kiss in a quiet way. But then the more anxious was I, the more desirous to assert my privilege with Casina, and I longed to do the old fellow out of that task. The door I blocked up, so that the old man might not over-power me.
<stage>from the house.</stage>
                  </p></sp><sp><speaker>MYRRHINA</speaker><p><stage>apart to CLEOSTRATA</stage>. Come now, you accost him <stage>Pointing to OLYMPIO.</stage></p></sp><sp><speaker>CLEOSTRATA</speaker><p><stage>accosting OLYMPIO</stage>. Where is your newly-made bride?</p></sp><sp><speaker>OLYMPIO</speaker><p><stage>aside</stage>. By heavens, I'm utterly undone; the thing's all out.</p></sp><sp><speaker>CLEOSTRATA</speaker><p><stage>overhearing him</stage>. It's right, then, that you should relate the whole affair as it happened. What's going on in-doors? How fares Casina? Is she quite obsequious to your will?</p></sp><sp><speaker>OLYMPIO</speaker><p> I'm ashamed to tell it.</p></sp><sp><speaker>CLEOSTRATA</speaker><p> Relate it in its order just as you proceeded.</p></sp><sp><speaker>OLYMPIO</speaker><p> Upon my faith, I am ashamed.</p></sp><sp><speaker>CLEOSTRATA</speaker><p> Proceed boldly. After you went to bed, I want you to tell what took place after that.</p></sp><sp><speaker>OLYMPIO</speaker><p> But it's a disgraceful matter.</p></sp><sp><speaker>CLEOSTRATA</speaker><p> I'll take care that those who hear it shall be on their guard as to mentioning it.</p></sp><sp><speaker>OLYMPIO</speaker><p> That's the principal thing.</p></sp><sp><speaker>CLEOSTRATA</speaker><p> You kill me with weariness. Why don't you proceed?</p></sp><sp><speaker>OLYMPIO</speaker><p> —Ubi * * * * us subtus porro * * * quid. <note anchored="true" resp="AEM">The translator leaves the next few lines in Latin because they contain sexual puns.</note>
                  </p></sp><sp><speaker>OLYMPIO</speaker><p> Babæ!</p></sp><sp><speaker>CLEOSTRATA</speaker><p> Quid? </p></sp><sp><speaker>OLYMPIO</speaker><p> Papæ! * * quid est? </p></sp><sp><speaker>OLYMPIO</speaker><p> Oh, erat maximum. Gladium ne haberet metui; id quærere occœpi. Dum, gladiumne habeat, quæro, arripio capulum. Sed, quom cogito, non habuit gladium; nam id esset frigidius.</p></sp><sp><speaker>CLEOSTRATA</speaker><p> Eloquere. </p></sp><sp><speaker>OLYMPIO</speaker><p> At pudet.
</p></sp><sp><speaker>CLEOSTRATA</speaker><p> Num radix fuit? </p></sp><sp><speaker>OLYMPIO</speaker><p> Non fuit.</p></sp><sp><speaker>CLEOSTRATA</speaker><p> Num cucumis?</p></sp><sp><speaker>OLYMPIO</speaker><p> Profecto hercle non fuit quidquam olerum; Nisi quidquid erat, calamitas profecto attigerat nunquam. Ita, quidquid erat, grande erat.</p></sp><sp><speaker>MYRRHINA</speaker><p> Quid fit denique? Edisserta.</p></sp><sp><speaker>OLYMPIO</speaker><p> —sepit veste id, quî estis. Ubi illum saltum video obseptum; Rogo, ut altero sinat ire. Ita, quidquid erat, grande erat. Tollo ut obvortam cubitissim * * * Ullum mutire * * * * * Surge, ut ineam in * * * * * Atque illam in * * * * *</p></sp><sp><speaker>MYRRHINA</speaker><p> Perlepide narrat * * * *</p></sp><sp><speaker>OLYMPIO</speaker><p> When I addressed Casina, "Casina," said I, "my dear wife, why do you slight your husband in this fashion? Really, upon my faith, you do this quite without my deserving it, inasmuch as I have given you the preference as my wife." She answered not a word. When I attempted a kiss, a beard pricked my lips just like briars. Forthwith, as I was upon my knees, she struck my head with her feet. I tumbled headlong from the bed; she leapt down upon me and punched my face. From there in silence out of doors I came in this guise; by your leaves I say it; may the old fellow drink of the same cup that I have been drinking of.</p></sp><sp><speaker>CLEOSTRATA</speaker><p> Most excellent. But where's your cloak?</p></sp><sp><speaker>OLYMPIO</speaker><p><stage>pointing to the house of ALCESIMUS</stage>. I left it here in-doors.</p></sp><sp><speaker>CLEOSTRATA</speaker><p> Well now; hasn't a very nice trick been played you?</p></sp><sp><speaker>OLYMPIO</speaker><p> Yes, and deservedly. Hush! the door makes a noise. What, is she following me, I wonder? <stage>They go to a distance.</stage>
                  </p></sp></div><milestone unit="scene" n="3"/><div type="textpart" n="937" subtype="card"><stage>Enter STALINO, in haste, from the house of ALCESIMUS.</stage><sp><speaker>STALINO</speaker><p><stage>aloud to himself</stage>. I'm branded with the greatest disgrace, nor what, under my circumstances to do, do I know. Nor yet how to look my wife in the face; so utterly undone am I! All my misdeeds are discovered. In every way, to my confusion, I am ruined! So clearly am I hooked fast by the jaws! nor know I in what way to clear myself before my wife; wretch that I am, to have been stripped of my cloak! * * * * These clandestine nuptials are all discovered. * * * * I judge it best for me * * * * She taught my wife * the way * * But who is there, what person would be ready to undertake this office for me? What now to do I know not, except to imitate worthless slaves, and fly from the house; for there's no safety for my shoulder-blades if I return home. I may tell lies there; i' faith, I shall get a basting, though much against my will, although I have earned my punishment. I'll at once betake myself in this direction in flight. <stage>He begins to run.</stage></p></sp><sp><speaker>OLYMPIO</speaker><p><stage>coming forward with the others</stage>. Hallo there! Stop, this instant, you amorous one!</p></sp><sp><speaker>STALINO</speaker><p><stage>to himself</stage>. I'm utterly undone! I'm being called back. I'll be off, as though I didn't hear. <stage>Runs on.</stage>]</p></sp></div><milestone unit="scene" n="4"/><div type="textpart" n="963" subtype="card"><stage>Enter CHALINUS, from the house of ALCESIMUS, dressed in woman's clothes.</stage><sp><speaker>CHALINUS</speaker><p> Where are you, you who imitate the morals of the Massilians<note anchored="true"><q>Of the Massilians</q>:  It is not at all settled by Commentators what is the meaning of this line. Massilia, now Marseilles, was a colony of the Phocæans. Cicero, in his Speech for L. Flaccus, particularly alludes to the strictness of their morals. It is possible that this good character may have passed into a proverb, and that Chalinus banteringly calls Stalino one who cultivates Massilian or the strictest morals. Schmieder, however, thinks that a pun on the word "Massilienses" is intended, and that as Stalino has met with a "mas," or "male," where he had hoped to find a female, Chalinus comes forward and asks him what he thinks of the Mas-silians; just as we in a similar case might say (though perhaps rather tamely)  the Man-chester people.</note>? Now, if you wish to be taking liberties with me, is a good opportunity [* * * at your risk. By my troth, you are undone. Come, only step this way. * * * Now I fancy that when a witness out of * * * * * * * * I'll find * * * * thus out of the street I order * * * * a murmur I * * *</p></sp><sp><speaker>STALINO</speaker><p> Now am I in extreme danger, between the stone and the sacrifice, nor know I which way to fly * * * * * The wolf-dogs * * * it was * * *
</p></sp><sp><speaker>CHALINUS</speaker><p> I' faith, I do think * * * * old there now like new.]</p></sp><sp><speaker>STALINO</speaker><p><stage>turning about</stage>. I'll go this way. I trust that the omen of a bitch's barking will prove the better<milestone n="971" unit="line"/><note anchored="true"><q>Will prove the better</q>:  It is somewhat difficult to say exactly what he means. In l. 927, he seems to be anneyed at being called back as he is running (probably down one of the streets that debouched on the stage). "Revocamen," "being called back," was particularly considered as a bad omen among the Romans. He, perhaps, now changes his mind, and says to himself, "This is a bad omen; I'll turn back; and bad as it is, the barking of my wife may prove a better one."</note>.</p></sp><sp><speaker>CLEOSTRATA</speaker><p> What are you doing, my husband, my good man? Whence come you in this guise? What have you done with your walking-stick, or how disposed of the cloak you had?</p></sp><sp><speaker>TWO MAID-SERVANTS </speaker><p> While he was playing his loving pranks with Casina, he lost it, I fancy.</p></sp><sp><speaker>STALINO</speaker><p><stage>aside</stage>. Utterly undone!</p></sp><sp><speaker>CHALINUS</speaker><p><stage>coming up to STALINO</stage>. Shall we go to bed again? I am Casina.</p></sp><sp><speaker>STALINO</speaker><p> Away with you to utter perdition!</p></sp><sp><speaker>CHALINUS</speaker><p> Don't you love me?</p></sp><sp><speaker>CLEOSTRATA</speaker><p> Nay, but answer me; what has become of your cloak?</p><p>[</p></sp><sp><speaker>STALINO</speaker><p><stage>running about, exclaiming</stage>. Upon my faith, wife, the Bacchantes! Bacchantes<milestone n="979" unit="line"/><note anchored="true"><q>Bacchantes! Bacchantes!</q>:  He tries to make an excuse by implication: pretending to be in a fright, he shouts out, wishing them to believe that he has met a gang of Bacchanalian votaries (who were not very particular as to doing mischief to any one they met). Unfortunately for him, a servant-maid suggests that no feast of Bacchus is going on at that time of the year, and that consequently the Bacchantes are not "out."</note>! Bacchantes!</p></sp><sp><speaker>TWO MAID-SERVANTS </speaker><p> He's making pretence on purpose for, upon my word, no Bacchantes are exhibiting at the present time.</p></sp><sp><speaker>STALINO</speaker><p> I forgot that. But still, the Bacchantes!—</p></sp><sp><speaker>CLEOSTRATA</speaker><p> How, the Bacchantes? Why, that cannot be.</p></sp><sp><speaker>TWO MAID-SERVANTS </speaker><p> By my troth, you are in a fright.</p></sp><sp><speaker>STALINO</speaker><p> What I?</p></sp><sp><speaker>CLEOSTRATA</speaker><p><stage>to the SERVANT</stage>. I' faith, do tell no lies, for it's quite clear. * * * * * * * * * * * * * * * * * * * * * * * *]</p></sp><sp><speaker>STALINO</speaker><p> Won't you hold your tongue?
</p></sp><sp><speaker>OLYMPIO</speaker><p> I' troth, I certainly shall not hold my tongue; for with the greatest earnestness you begged me to ask for Casina as my wife.</p></sp><sp><speaker>STALINO</speaker><p> That I did on account of my love for you.</p></sp><sp><speaker>CLEOSTRATA</speaker><p> I' faith, of her rather. <stage>Turning to CHALINUS.</stage> He'd have been making an attack upon you, in fact.</p></sp><sp><speaker>STALINO</speaker><p> I been doing these things that you mention?</p></sp><sp><speaker>CLEOSTRATA</speaker><p> And do you ask me that?</p></sp><sp><speaker>STALINO</speaker><p> If indeed I have done so, I've been doing wrong.</p></sp><sp><speaker>CLEOSTRATA</speaker><p> Just come back in-doors here; I'll remind you, if you have forgotten anything.</p></sp><sp><speaker>STALINO</speaker><p> Troth, I think, I'll believe you in preference as to what you say. But, wife, do grant pardon to your husband for this; Myrrhina, do entreat Cleostrata! If ever, from this time forward, I love Casina, or even think of it, should I love her, I say, should I ever hereafter, in fact, be guilty of such a thing, there's no reason, wife, why you shouldn't lash me with twigs as I hang up by the arms.</p></sp><sp><speaker>MYRRHINA</speaker><p> On my word, I do think that forgiveness may be granted for this.</p></sp><sp><speaker>CLEOSTRATA</speaker><p><stage>to MYRRHINA</stage>. I'll do as you request me. <stage>To STALINO.</stage> On this account with the less difficulty do I now grant you this pardon, that, from being a long one, we mayn't be making this Play still longer.</p></sp><sp><speaker>STALINO</speaker><p> You are not angry? </p></sp><sp><speaker>CLEOSTRATA</speaker><p> I am not angry.</p></sp><sp><speaker>STALINO</speaker><p> Am I to trust your word?</p></sp><sp><speaker>CLEOSTRATA</speaker><p> You may my word.</p></sp><sp><speaker>STALINO</speaker><p> No person ever did have a more amiable wife than I've got.</p></sp><sp><speaker>CHALINUS</speaker><p> Keep to her, then. </p></sp><sp><speaker>CLEOSTRATA</speaker><p><stage>to CHALINUS</stage>. Come you, give him back his walking-stick and cloak.</p></sp><sp><speaker>CHALINUS</speaker><p><stage>taking them from behind him, where he had held them</stage>. Take them, if you wish. Upon my faith, a great injustice has really been most egregiously done me; I've been married to two husbands; neither has behaved to me as to a new-made bride.</p></sp><sp><speaker>The PLAYERS.</speaker><p>Spectators, what's to be done within, we'll tell you here. This Casina will be discovered to be the daughter of this person next door<milestone n="1013" unit="line"/>
                     <note anchored="true"><q>Of this person next door</q>:  Schmieder suggests that Myrrhina has not hitherto seen Casina, but now, on hearing so much of her, enquires into her history, on which Chalinus explains how he begged her of the woman who was going to expose her, and Myrrhina then recognizes in her her own child, whom she had ordered to be exposed. This practice, especially with regard to female children, was by no means uncommon among the ancients, and even with the more respectable classes. We must remember, however, that in the Prologue it is stated that the servant who found her is ill in bed.</note>, and she'll be married to Euthynicus, our master's son. Now it's only fair that with your deserving hands you should give us deserved applause. He who does so, may he always keep his mistress without the knowledge of his wife. But he who doesn't with his hands clap as loud as he can, in place of a mistress, may a he-goat, soused in bilge-water, be palmed off upon him<milestone n="1018" unit="line"/>
                     <note anchored="true"><q>Palmed off upon him</q>:  Warner, in his concluding Note to this Play, informs us that "Machiavel had undoubtedly this Comedy of Plautus his eye when he wrote his Clinia."</note>.
</p></sp></div></div></body></text></TEI>
                </passage>
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