measure of the Romaic, as I could make them. Almost all their pieces, above a song, which aspire to the name of poetry, contain exactly the quantity of feet of. « A captain Lold of Halifax, who lived in country quarters,”

which is in fact the present heroic couplet of the Romaic.

SCENE FROM ‘Ο ΚΑΦΕΝΕΣ.

TRANSLATED FROM THE ITALIAN OF GOLDONI, BY SPERIDION VLANTI.
ΣΚΗΝΗ ΚΓ'.

ΠΛΑΤΖΙΔΑ εἰς τὴν πόρταν τοῦ χανιοῦ, καὶ οἱ ἄνωθεν.

ΠΛΑ. Ω Θεέ! ἀπὸ τὸ παραθύρι μοῦ ἐφάνη νὰ ἀκούσω τὴν φωνὴν του ἀνδρός μου· ἂν αυτὸς εἶναι ἐδῶ, ἔφθασα σὲ καιρὸν νὰ τὸν ξεντροπιάσω. [Εὐγαίνει ἕνας δοῦλος ἀπὸ τὸ ἐργαστήρι.] Παλικάριπές μου σε παρακαλῶ ποιὸς εἶναι ἐκεῖ εἰς ἐκείνους τοὺς ὀντάδες ; ΔΟΥΛ. Τρεῖς χρήσιμοι ἄνδρες. Ένας ὁ κῦρ Εὐγένιος, ὁ ἄλλος ὁ κῦρ Μάρτιος Ναπολιτάνος, καὶ ὁ τρίτος ὁ Κύρ Κόντε Λέανδρος 'Αρδέντης.

ΠΛΑ. (Ανάμεσα εἰς αὐτοὺς δὲν εἶναι ὁ Φλαμίνιος, ἂν ὅμως δὲν ἄλλαξεν ὄνομα.)
ΛΕΑ. Νὰ ζῇ ἡ καλὴ τύχητοῦ κῦρ Εὐγενίου. [Πίνωντας.]

ΟΛΟΙ. Νὰ ζῇ νὰ ζῇ.

ΠΛΑ. (Αὐτὸς εἶναι ὁ ἄνδρας μου χωρὶς ἄλλο ) Καλὲ ἄνθρωπε κάμε μου τὴν χαρὶν νὰ μὲ συντροφεύσης ἀπάνῶ εἰς αὐτοὺς τοὺς ἀφεντάδες, ὁποῦ θέλω νὰ τοὺς παίξω μίαν. [Πρὸς τὸν δούλον.]

ΔΟΥ. ‘Ορισμός σας· (συνηθισμένον ὀφφίκιον τῶν δουλευτῶν.) [Τὴν ἐμπάζει ἀπὸ τὸ ἐργαστήρι τοῦ παιγνιδιού.]

ΡΙΔ. Καρδιὰ, καρδιὰ, κάμετε καλὴν καρδιὰν, δὲν εἶναι τίποτες. [Πρὸς τὴν Βιττό ριαν.] ΒΙΤ. Ἐγὼ αἰσθάνομαι πῶς ἀπεθαίνω· [Συνέρχεται εἰς τὸν ἑαυτόν τῆς.] ['Απὸ τὰ παράθυρα τῶν ὀντάδων φαίνονται ὅλοι, ὁποῦ σηκόνωνται ἀπὸ τὸ τραπέζι συγχισμένοι, διὰ τὸν ξαφνισμὸν τοῦ Λεάνδρου βλέπωντας τὴν Πλάτζιδα, καὶ διατὶ αὐτὸς δείχνει πῶς θέλει νὰ τὴν φονεύσῃ.]

ΕΥΓ. Οχι, στάθητε.

ΜΑΡ. Μὴν κάμνετε

ΛΕΑ. Σίκω, φύγε ἀπ' ἐδώ.

ΠΛΑ. Βοήθεια, βοήθεια. [Φεύγει ἀπὸ τήν σκάλαν, ὁ Λέανδρος, θέλει νὰ τὴν ἄκυλουθήσῃ μὲ τὸ σπαθὶ καὶ ὁ Εὐγτὸν βαστᾶ.]

ΤΡΑ. [Μὲ ἕνα πιάτο μὲ φαγὶ εἰς μίαν πετζέτα πηδᾷ ἀπὸ τὸ παραθύρι, καὶ φεύγει εἰς τὸν καφενέ.]

ΠΛΑ. Εὐγαίνει ἀπὸ τὸ ἐργαστήρι τοῦ παιγνιδιοῦ τρέχωντας, καὶ φεύγει εἰς τὸ χάνι.]

ΕΥΓ. [Μέ ἄρματα εἰς τὸ χέρι πρὸς διαφέντευσιν τῆς Πλάτζιδας, ἐναντίον τοῦ Λεάνδρου, ὁπῶ τὴν κατατρέχει.]

ΜΑΡ. Εὐγαίνει καὶ αὐτὸς σιγὰ σιγὰ ἀπὸ τὸ ἐργαστήρι, καὶ φεύγει λέγωντας.] Runores fuge. [ Ρουμέρες φούγε.] *

Οἱ Δούλοι. ['Απὸ τὸ ἐργαστήρι ἀπερνοῦν εἰς τὸ χάνι καὶ κλειοῦν τὴν πόρταν.]
ΒΙΤ. [Μένει εἰς τὸν καφενέ βοηθημένη ἀπὸ τὸν “Ριδόλφον.]

ΛΕΛ. Δόσετε τόπον· θέλωρινὰ ἔμβω νὰ ἔμβω εἰς ἐκεῖνο τὸ χάνι. [Μὲ τὸ σπαθὶ εἰς τὸ χέ· ἐναντίον τοῦ Εὐγενίου.]

ΕΥΓ. Οχι, μὴ γένοιτο ποτέ εἶσαι ἕνας σληρόκαρδος έναντίον τῆς γυναικός σου, καὶ ἐγὼ θέλει τήν διαφεντεύσω ὡς εἰς τὸ ὕστερον αἷμα,

ΛΕΑ. Σοῦ κάμνω ὅρκον πῶς θέλει τὸ μετανοιώσῃς. [Κινηγᾳ τὸν Εὐγένιον μὲ τὸ σταθί.]

ΕΥΓ. Δὲν σὲ φοβοῦμαι. [Κατατρέχει τον Λέανδρον, καὶ τὸν βιάζει νὰ συρθῇ ὀπίσω τόσον, ὁποῦ εὐρίσκωντας ἀνοικτὸν τὸ σπήτι τῆς χορεύτριας ἐμβαίνει εἰς αὐτὸς καὶ σων εται.]

* Λόγος λατινικὸς, ὁποῦ θέλεινὰ εἰπῇ· φεύγε ταῖς σύγχισες.

89

TRANSLATION.

Platzida from the Door of the Hotel, and the Others.

If

Pla. Oh God! from the window it seemed that I heard my husband's voice. he is here, I have arrived in time to make him ashamed. [À Servant enters from the Shop. Boy, tell me, pray, who are in those chambers.

Serv. Three gentlemen: oue, Signor Eugenio; the other, Signor Martio, the Neapolitan; and the third, my Lord, the Count Leander Ardenti.

Pla. Flammio is not among these, unless he has changed his name. Leander. [Within drinking.] Long live the good fortune of Signor Eugenio. The whole Company, Long live, &c.) (Literally, Na 2, và 5, May he live.) Pla. Without doubt that is my husband. [To the Serv.] My good man, do me the favour to accompany me above to those gentlemen; I have some business. Serv. At your commands. [Aside.] The old office of us waiters. [He goes out of the Gaming-House.]

Ridolpho. [To Victoria on another part of the stage.] Courage, courage, be of good cheer, it is nothing.

Victoria. I feel as if about to die. [Leaning on him as if fainting.].

[From the windows above all within are seen rising from table in confusion: Leander starts at the sight of Platzida, and appears by his gestures to threaten her life.

Eugenio. No, stop

Martio. Don't attempt

Leander. Away, fly from hence!

Pla. Help! Help! [Flics down the stairs, Leander attempting to follow with his sword, Eugenio hinders him.]

[Trappola with a plate of meat leaps over the balcony from the window, and runs into the Coffee-House.]

[Platzida runs out of the Gaming-House, and takes shelter in the Hotel.]

Martio steals softly out of the Gaming-House, and goes off, exclaiming" Rumores fuge." The Servants from the Gaming-House enter the Hotel, and shut the door.] [Victoria remains in the Coffee-House assisted by Ridolpho.]

[Leander sword in hand opposite Eugenio exclaims, Give way-I will enter that hotel.]

Eugenio. No, that shall never be. You are a scoundrel to your wife, and I will defend her to the last drop of my blood.

Leander. I will give you cause to repent this. [Menacing with his sword.] Eugenio. I fear you not. [He attacks Leander, and makes him give back so much, that finding the door of the dancing girl's house open, Leander escapes through, and so finishes.]*

* Ewveral "finishes "-awkwardly enough, but it is the literal translation of the Romaic. The original of this comedy of Goldoni's I never read, but it does not appear one of his best. "Il Bugiardo" is one of the most lively; but I do not think it has been translated into Romaic: it is much more amusing than our own "Liar," by Foote. The character of Lelio is better drawn than Young Wilding. Goldoni's comedies amount to fifty; some perhaps the best in Europe, and others the worst. His life is also one of the best specimens of autobiography, and, as Gibbon has observed, "more dramatic than any of his plays." The above scene was selectců as containing some of the most familiar Romaic idioms, not for any wit which it displays, since there is more done than said, the greater part consisting of stage directions. The original is one of the few comedies by Goldoni which is without the buffoonery of the speaking Harlequin.

'Ω ἀκριβέ μου Κύριε, κάμετε με αὐτὴν τὴν My dear Sir, do me this favour.

Σας παρακαλῶ νὰ μὲ μεταχειρίζεσθε ἐλεύ- 1 beg you will treat me freely.

Προσκυνήσετε ἐκμέρους μου τὸν ἄρχοντα, ἤ Present my respects to this gentleman,

What shall we do ?

Τί θὰ κάμωμεν ;

Τί μὲ συμβουλεύτε νὰ κάμω,

What do you advise me to

Ο ποῖον τρόπον θέλομεν μεταχειρισθῆ ἡμεῖς; What part shall we take ?

*Ας κάμωμεν ἐτζη

Εἶναι καλίτερον ἐγὼ νὰ

Σταθῆτε ὀλίγον

Δὲν ἤθελεν εἶναι καλίτερον να
Εγὼ ἀγαποῦτα καλίτερα
Θέλετε κάμει καλίτερα ἂν
Αφήσετέ με

“Αν ἤμουν εἰς τὸν τόπον σας ἐγὼ
Εἶναι τὸ ἴδιον

Let us do this.

It is better that I

Wait a little.

Would it not be better that

I wish it were better.
You will do better if-
Let me go.

If I were in your place I—
It is the same

The reader by the specimens below will be enabled to compare the modern with the

ancient tongue

ΟΡΧΟΜΕΝΟΣ, κοινῶς Σκριποῦ, Πόλις ποτὲ πλουσιωτάτη καὶ ἰσχυρωτάτη, πρότερον καλουμένη Βοιωτικαὶ ̓Αθῆναι, εἰς τὴν ὁποίαν ἦτον ὁ Ναὸς τῶν Χαρίτων, εἰς τὴν ὁποῖον ἐπλήρωναν τέλη οἱ Θηβαῖοι, οὔτινος τὸ ἔδαφος ανεσκάφθε ποτὲ ὑπὸ τῶν ̓Ασπαλάγκων. Ἐπανηγύριζον εἰς αὐτὴν τὴν Πόλιν τὰ χαριτήσια, τοῦ ὁποίου ̓Αγῶνος εὗρον ἐπιγραφάς ἐν στήλαις ἔνδον τοῦ κτισθέντος Ναοῦ ἐπ' ὀνόμαπι τῆς Θεοτόκου, ὑπὸ τοῦ Πρωτοσπαθαρίου Λέοντος, ἐπὶ πῶν Βασιλέων Βασιλείου, Λέοντος, καὶ Κωνσταντίνου ἐχούσας οὕτως. Εν μὲν τῇ μια κοινως.