No More Learning

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? INTRODUCTION.
ITTLE is known of Caius Valerius Catullus the
Latin poet who is the central figure of this play,
except that he was born of a respectable family
in the year 87 B. C, and lived in or near Verona,
from which city he removed at an early age to Rome,
where his genius and accomplishments quickly won him
recognition. There he lived on terms of intimacy with
some of the most distinguished literary and political
characters of the day. We are assured that he was known
to Cicero and Julius Caesar, and that he was the personal
friend of Caius Memmius, then Praetor of the Province
of Bithynia. The Lesbia of his poems is supposed to
have been the daughter or wife of a well-knov/n Romatn;
whether she was Clodia or another is immaterial, the
world is grateful to her for having inspired such beauti-
ful lyrics as were dedicated to her by her lover.
The poems of Catullus justly rank with the best lyrical
poetry of the period, and it is doubtful if certain of his
lyrics have ever been surpassed. Be that as it may, the
sincerity, grace and beauty of these poems, have tempted
us to write around the vague life of the author a play in-
troducing the best of his lyrics, and "The Plea of Love,"
a comedy, in one act is the result. The scene of this play
is laid in the summer villa of Catullus, known to have
been located upon a peninsular called Sirmio -- a> promon-
tory that projects into the Benacus, now known as Lago
de Garda, Italy. Here vestiges of the villa may yet be
seen, and here it was that Napoleon I, who never failed to
recognize the genius of a true artist, drank this toast --
"To the most elegant of Latin poets. "
Catullus lived amid the turmoil and dissipation of Rome
and it is therefore not surprising to learn that he became
dissipated and died at an early age about the year 48 B. C.
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? That he ever descended to the depravity of the
"viveurs" of his day is seriously to be doubted, for all
art is but a form of expression, and poetry above all
other arts is the most subjective, "we give of ourselves
when we sing our lay. " It is therefore natural to con-
clude that the poet who wrote Sweet Sirmio, Lesbias Spar-
row or the famous Hymenael dedicated to Julia & Man-
lius, could not have been a depraved man. He may have
been weak, but that is a fault we can excuse though not
admire. We have therefore pictured Catullus in this play
as we see him through his poems, rather than from the
vague history by which he is known to the world.
The play, although of one act, is unique in form, and
falls into the logical subdivisions that make a complete
action, viz. : a beginning, a middle, and an end. The cur-
tains for these subdivisions have been indicated, but it
could be given with equal success if presented with-
out a curtain, as the ancient classical dramas were per-
formed. The plot of "The Plea of Love," is very simple
and is devoid of those theatrical tricks that are the sure
sign of the common place. The action is well . sus-
tained and self-progressive, the climax of the play being
carried well toward the end where the resolution of the
plot is concluded amid a scene of rare beauty. This play
is an eairnest attempt, to produce not a musical comedy,
but a drama with music logically introduced. Recourse
has therefore been made to verse in the dialogue, to vocal
and incidental music throughout the action, and such
scenic display as v/ill enrich the whole and produce that
magical appeal, that awakens the imagination and exalts
the soul: The appeal of Beauty.
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? THE CHARACTERS
MEN.
CATULLUS, A poet and friend of all true lovers.
CAIUS MEMMIUS, Praetor of the Province of Bithynia.
LUCRETIUS, A friend of Catullus, and a Romsn.
JULIAN, Son of Caius Memmius.
PHILTO, Slave of Caius Memmius.
GRIPUS, Slave of Lucretius.
MINSTRAL, An old protege of Catullus.
DAVUS, 1
ALCAEUS, I Chorus of Youths.
PALAESTRA, [ Slaves of Catullus.
MYRSON, J
EROS, or Cupid, the god of love.
WOMEN.
EUNOMIA, Wife of Lucretius and Mother of Hermia.
HERMIA, Daughter of Lucretius.
PHAEDRIA, 1
THESSALA, [ Chorus of Maidens.
QUINTIA, I Slaves of Catullus.
CELIA, J
EUPHROSYNE, 1
AGLAIA, [ The Three Graces.
THALIA, J
Chorus of Husbandmen, Servants, etc.
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? THE SCENE.
The scene of this play is laid in the summer villa of
Catullus, located upon a promentory called Sirmio in the
Benacus, now known as the Lago de Garda Italy.
A magnificent Grecian peristyle crosses the entire
width of the stage, three steps lead up to this portico be-
yond which may be seen the lake and the Alps in the
distance. The fore stage is the main hall of the palace
and has a ceiling effect showing it as such.
A couch occupies the center stage. On the right and
left are bronze tripods or altars. See plan.
CATULLUS
o
oooooo o
PSRISTiTX
O O O OOP
FO0THGHT5
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? THE TIME.
It is early morn of the Spring of the year of 57 B. C.
As the curtain ascends, the faint glimmer of the morning
star is seen on the horizon.
DISCOVERED.
Catullus is discovered reclining upon a couch placed
in center stage; back of him is the peristyle, and beyond
the blue vraters of the Benacus. In the distance may be
seen the snow-capped peaks of the Alps. Catullus is a
handsome man six feet or more in height, but his gray
hair and wejry eyes denote one given to dissipation.
About hkn seated upon the floor in graceful attitudes,
are four yo\jng maids, his slaves, Phaedria, Thessaia,
Quintia and Celia; they have their lutes and lyres, and
wear chaplets of laurel and roses upon their heads. As
the curtain ascends, they sing to Catullus and accompany
themselves upcw their lutes.
PRELUDE.
By tm orchestra precedes curtain.
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? "THE PLEA OF LOVE. "
The Lyrics.
No. I. Prelude preceeding curtain by Orchestra.
2. "Now spring renews her gentle charms" -- Catul-
lus. Translation o? W. Peter, sung by Chorus of
Maidens.
3. "No nymph among the much loved few" -- Catul-
lus. Translation of Hon. G. Lamb. Solo by Quin-
tia.
4. Chorus of Husbandmen (off scene) -- O. R. Lamb.
5. "Sweet Sirmio, Sweet Sirmio. " -- Catullus. Trans-
lation of Thomas Moore, solo by Minstral.
6. "Mourn all ye Loves and Graces Mourn -- Catul-
lus. Translation of Hon, G. Lamb, solo by Min-
stral.
7. Hermia's plea to Catullus adapted from -- Agathias.
Translation of J. H. Mirivale, solo by Hermia.
8. Hymn to Love, Duo Hermia and Julian -- O. R.
Lamb.
9. The Plea of Love, Duo Hermia anl Julian -- O. R.
Lamb.
10. The Rondelay of the Graces, Trd -- O. R. Lamb.
11. "The Spring hath come," adaptei from the Greek
-- O. R. Lamb.
12. The Epithalamium -- Catullus. -- Translation of Sir
C. A. Elton, sung by full Cho'us.
13. The Wedding March, by Orchestra.
14. The Chorus of Husbandnvn (off scene) -- O. R.
Lamb.
15. Concluding Chorus, The ''lea of Love (off scene)
--- O. R. Lamb,
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? SCENE I.
MUSICAL No. 2.
"SPRING SONG.
"
Sung by the Chorus of Maidens, at the conclusion of
the Prelude -- as the curtain ascends.
I.
Now Spring renews her gentle charms,
And lulled in zephyr's balmy arms.
Soft grows the angry sk3r;
Haste then, and leaving Phrygia's plains.
Essaying Nicae's rich domains,
To Asia's Cities fly.
II.
My soul all trembling, pants to stay.
My bounding feet the call obey;
Friends of my youth farewell.
Loved friends, with whom I left my home,
Now doomed through various ways to roam,
In different lands to dwell.
IIL
The Spring renews her gentle charms,
And lulled in zephyr's balmy arms.
Soft grows the angry sky.
My soul all trembling pants to stray.
My bounding feet the call obey.
To Asia's cities fly.
CATULLUS.
(Distractedly. ) The measure is too sad, sweet maids,
essay a merrier air Sing ye of love.
QUINTIA.
My lord, you die of love already; why add unto your
sorrow?
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? CATULLUS.
Pass me a cup of wine, good Quintia. The fleeting
memories of happy days instil not only grief, but mix
there with a discontent that rends my heart in twain. Oh,
had my Lesbia lived, how happy would our lot have been;
but now, alas; (He drinks the wine).
QUINTIA.
My lord, I beg thee let these memories pass. For nights
thou hast not closed thine eyes, and sleep evades thee,
as the Echo mocks us when we sing.
CATULLUS.
Could I but conquer this hell of discontent -- this fire
of love that now consumes my heart, then might I rest
in peace. Another cup of wine, good Quintia.
QUINTIA.
Nay, my lord, refrain I prithee; the wine but makes
thy humor worse. -- Good master, v/e thy hand-maids love
thee much and faithfully our vigil keep, but now the
night is gone and weariness o'ertakes us quite. Repose
thine head, and I will bathe thy brow with this perfume.
CATULLUS.
What is the hour, Quintia?
QUINTIA.
The moon hath set. The Pleiadese fade in the distant
sky, and Phospor now the early dawn proclaims.
CATULLUS.
How long the night! (looking at the heavens) Brave
Orion in his glory wanes, the day will soon be breaking!
Essay, another measure, child) -- sing thou of love, my love,
my Lesbia.
QUINTIA.
I will, my lord.
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? CATULLUS.
And then as she was wont to do, bathe thou my brow
with sweet perfume. Perchance the gods may hear thy
plea and send sweet sleep to solace me.
No. 3.
QUINTIA SINGS OF LESBIA.
No nymphs among the much loved few,
Is loved as thou art loved by me;
No love was e'er so fond, so true,
As my fond love, sweet maid, for thee.
IL
Yes, e'en thy faults, bewitching dear!
With such delights my soul possess;
That whether faithless, or sincere,
I cannot love thee more, nor less!
III.
No nymph, among the much loved few,
Is loved as thou art loved by me;
No love was e're so kind, so true.
As my fond love, sweet maid for thee.
CATULLUS.
(Half dreaming, half awake). How sweet, how sweet.
Oft have I sung that song.
My child sing it again I pray,
And with thy strain, allay my pain,
And drive m. y cares away.
r Quintia repeats the song, and as she concludes ")
j Catullus falls into a gentle sleep. As he sleeps the I
j Minstrals cease their song and there is heard the j
l^ Husbandmen singing in the distance. j
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? No. 4.
CHORUS OF HUSBANDMEN, ETC.
(Off Scene. )
PART I.
Tenors and Basses.
The night is gone, the day is come,
Ho sluggards be awaking,
Come join our throng, with festal song,
For lo! the dawn is breaking.
Ho to the fields, whose treasure yields,
Your food and lowly portion.
Then let's away, before the day,
And seek the laborer's fortune.
PART II.
Sopranos and Altos.
Faithful little mothers.
Patient little wives.
We seek our toil, amid the soil,
The honey and the hives.
Our task is just beginning,
And as we join the throng.
We greet the day with rondelay.
And sing our merry song.
PART III.
Ho, ho, away we go,
Hither away, thither away,
So, so, merrily go
Singing our rondelay.
PART IV.
Tenors and Basses.
Then plant the seed, and kill the weed,
For Nature's most compelling.
She'll bring the rain, and ripe the grain.
With the harvest rich excelling.
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? Then to your toil, ye sons of soil,
And happy be your portion,
For v/e're away, before the day,
To seek the laborer's fortune.
PART V.
Sopranos, Tenors, Altos, Basses.
Ho, ho, away we go.
Hither away, thither away.
So, so, merrily go,
Singing our rondelay.
( At the conclusion of the chorus of husbandmen
Catullus awakes. The dawn is breaking, the stars
grow dim, the sun at last breaks through the mist
and shines upon the lake; the birds add their chorus
of joy, and where before all was dark and dreary,
the scene becomes joyful and resplendent. The min-
strals now arouse themselves, arise and pass be-
hind the couch of Catullus, who entranced at the
beauty of the scene and refreshed by the few mo-
ments of repose, arises and stands spell bound, ad-
miring the scene. The beautiful music which has
accompanied this scenic display now ceases momen-
, tarily and Catullus speaks.
CATULLUS.
How fair the morn, how joyfully the birds their mad-
rigals proclaim! How sweet the perfume of the thyme,
as on the balmy air its odor, gently wafts to me. How
fair! How fair! All nature seems to smile, and I at last
in sweet content her beauties may survey.
QUINTIA.
My lord, thy sleep hath much refreshed thee. Then wilt
thou not from out thy store of happiness repay thy faith-
ful slaves, v/ho through the weary night have watched
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? o'er thee and given solace in thy discontent. A boon we
beg of thee, a boon my lord.
ALL.
Aye! aye! a boon.
CATULLUS.
What would ye that I grant?
QUINTIA.
I tremble least I ask, that which in truth may vex thee
sore.
CATULLUS.
Am I not rich and generous? Come, speak my child.
QUINTIA.
Aye, rich thou art, yet art thou poorer than the meanest
slave.
CATULLUS.
Speak not in riddles thus, how am I poorer than the
meanest slave?
QUINTIA.
Once thou wert loved, now thou art sad and lonely. Thy
Lesbia dead, thou seekest in the cup to drown thy grief.
Beware the wine though it be red for they who seek
their solace in the grape to Circe's spell succumb.
CATULLUS.
(Seriously. ) Thou speakest truth my child, -- yet grief
and discontent rend me in twain and if I drown my sor-
row thus, it is because my love is great. They know not
grief who in their souls have not a great capacity for love
-- (pause). And yet thou speakest truth, for Circe's spell
is death.
QUINTIA.
Then forswear the cup my lord, and grant thy gentle
hand-maid's boon.
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? ALL.
Aye, good master, forswear, forswear.
CATULLUS.
Now by the Kingdom of the Powers above, by Jove and
all the gods on high, I swear that I shall mend my evil
ways, and be the man that ye would have me be.
QUINTIA.
O, good my lord.
CATULLUS.
And though I ne'er may Lesbia's equal
View, nor hope for love such as she
Gave me from her bounteous store.
Yet by Minerva and the gods I swear,
To be the friend of lovers evermore.
For love alone this wondrous world doeth move
And life is death, without the touch of love.
But with the coming of its gentle sway.
Our sorrows vanish, darkness turns to day;
Then to all lovers shall I freely give
My wealth, my aid, that they may love and live.
QUINTIA.
O, good, O, gentle master, now dost thou fill our hearts
with joy and make us glad indeed. Behold thy hand-maids
kneeling at thy feet in silence do bespeak their gratitude.
CATULLUS.
Such fealty as this would touch a heart less tender than
mine own, and I were most unworthy of it, if e'er my oath
I should disclaim. Arise my children and let your weary
eyes seek some repose.