Lucius Seneca - Yale Required Reading - Collected Works (Vol. 2)

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This collection is based on the required reading list of Yale Department of Classics. Originally designed for students, this anthology is meant for everyone eager to know more about the history and literature of this period, interested in poetry, philosophy and rhetoric of Ancient Rome.
Latin literature is a natural successor of Ancient Greek literature. The beginning of Classic Roman literature dates to 240 BC. From that point on, Latin literature would flourish for the next six centuries. Latin was the language of the ancient Romans, but it was also the lingua franca of Western Europe throughout the Middle Ages. Consequently, Latin Literature outlived the Roman Empire and it included European writers who followed the fall of the Empire, from religious writers like Aquinas, to secular writers like Francis Bacon, Baruch Spinoza, and Isaac Newton. This collection presents all the major Classic Roman authors, including Cicero, Virgil, Ovid and Horace whose work intrigues and fascinates readers until this day.
Content:
Plautus:
Aulularia
Amphitryon
Terence:
Adelphoe
Ennius:
Annales
Catullus:
Poems and Fragments
Lucretius:
On the Nature of Things
Julius Caesar:
The Civil War
Sallust:
History of Catiline's Conspiracy
Cicero:
De Oratore
Brutus
Horace:
The Odes
The Epodes
The Satires
The Epistles
The Art of Poetry
Virgil:
The Aeneid
The Georgics
Tibullus:
Elegies
Propertius:
Elegies
Cornelius Nepos:
Lives of Eminent Commanders
Ovid:
The Metamorphoses
Augustus:
Res Gestae Divi Augusti
Lucius Annaeus Seneca:
Moral Letters to Lucilius
Lucan:
On the Civil War
Persius:
Satires
Petronius:
Satyricon
Martial:
Epigrams
Pliny the Younger:
Letters
Tacitus:
The Annals
Quintilian:
Institutio Oratoria
Juvenal:
Satires
Suetonius:
The Twelve Caesars
Apuleius:
The Metamorphoses
Ammianus Marcellinus:
The Roman History
Saint Augustine of Hippo:
The Confessions
Claudian:
Against Eutropius
Boethius:
The Consolation of Philosophy
Plutarch:
The Rise and Fall of Roman Supremacy:
Romulus
Poplicola
Camillus
Marcus Cato
Lucullus
Fabius
Crassus
Coriolanus
Cato the Younger
Cicero

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Ctes. ( apart. ) Is he looking for me?

Syr. ( apart. ) Yes.

Ctes. ( apart. ) Undone!

Syr. ( apart. ) Nay, do be of good heart.

Dem. ( to himself. ) Plague on it! what ill luck is this? I can not really account for it, unless I suppose myself only born for the purpose of enduring misery. I am the first to feel our misfortunes; the first to know of them all; then the first to carry the news; I am the only one, if any thing does go wrong, to take it to heart.

Syr. ( apart. ) I’m amused at him; he says that he is the first to know of every thing, while he is the only one ignorant of every thing.

Dem. ( to himself. ) I’ve now come back; and I’ll go see whether perchance my brother has yet returned.

Ctes. ( apart. ) Syrus, pray do take care that he doesn’t suddenly rush in upon us here.

Syr. ( apart. ) Now will you hold your tongue? I’ll take care.

Ctes. ( apart. ) Never this day will I depend on your management for that, upon my faith; for I’ll shut myself up with her in some cupboard 66—that’s the safest.

Goes into the house.

Syr. ( apart. ) Do so, still I’ll get rid of him.

Dem. ( seeing Syrus. ) But see! there’s that rascal, Syrus.

Syr. ( aloud, pretending not to see Demea. ) Really, upon my faith, no person can stay here, if this is to be the case! For my part, I should like to know how many masters I have—what a cursed condition this is!

Dem. What’s he whining about? What does he mean? How say you, good sir, is my brother at home?

Syr. What the plague do you talk to me about, “good sir”? I’m quite distracted!

Dem. What’s the matter with you?

Syr. Do you ask the question? Ctesipho has been beating me, poor wretch, and that Music-girl, almost to death.

Dem. Ha! what is it you tell me?

Syr. Aye, see how he has cut my lip. ( Pretends to point to it. )

Dem. For what reason?

Syr. He says that she was bought by my advice.

Dem. Did not you tell me, a short time since, that you had seen him on his way into the country?

Syr. I did; but he afterward came back, raving like a madman; he spared nobody—ought he not to have been ashamed to beat an old man? Him whom, only the other day, I used to carry about in my arms when thus high? ( Showing. )

Dem. I commend him; O Ctesipho, you take after your father. Well, I do pronounce you a man.

Syr. Commend him? Assuredly he will keep his hands to himself in future, if he’s wise.

Dem. ’Twas done with spirit.

Syr. Very much so, to be beating a poor woman, and me, a slave, who didn’t dare strike him in return; heyday! very spirited indeed!

Dem. He could not have done better: he thought the same as I did , that you were the principal in this affair. But is my brother within?

Syr. He is not.

Dem. I’m thinking where to look for him.

Syr. I know where he is—but I shall not tell you at present.

Dem. Ha! what’s that you say?

Syr. I do say so.

Dem. Then I’ll break your head for you this instant.

Syr. I can’t tell the person’s name he’s gone to , but I know the place where he lives.

Dem. Tell me the place then.

Syr. Do you know the portico down this way, just by the shambles? ( Pointing in the direction. )

Dem. How should I but know it?

Syr. Go straight along, right up that street; when you come there, there is a descent right opposite that goes downward, go straight down that; afterward, on this side ( extending one hand ), there is a chapel: close by it is a narrow lane, where there’s also a great wild fig-tree.

Dem. I know it.

Syr. Go through that—

Dem. But that lane is not a thoroughfare.

Syr. I’ faith, that’s true; dear, dear, would you take me to be in my senses? 67I made a mistake. Return to the portico; indeed that will be a much nearer way, and there is less going round about: you know the house of Cratinus, the rich man?

Dem. I know it.

Syr. When you have passed that, keep straight along that street on the left hand; 68when you come to the Temple of Diana, turn to the right; before you come to the city gate, 69just by that pond, there is a baker’s shop, and opposite to it a joiner’s; there he is.

Dem. What is he doing there?

Syr. He has given some couches to be made, with oaken legs, for use in the open air. 70

Dem. For you to carouse upon! Very fine! But why do I delay going to him?

Exit.

Scene III.

Table of Contents

Syrus alone.

Syr. Go, by all means. I’ll work you to day, you skeleton, 71as you deserve. Æschinus loiters intolerably; the breakfast’s spoiling; and as for Ctesipho, he’s head and ears in love. 72I shall now think of myself, for I’ll be off at once, and pick out the very nicest bit, and, leisurely sipping my cups, 73I’ll lengthen out the day.

Goes into the house.

Scene IV.

Table of Contents

Enter Micio and Hegio .

Mic. I can see no reason here, Hegio, that I should be so greatly commended. I do my duty; the wrong that has originated with us I redress. Unless, perhaps, you thought me one of that class of men who think that an injury is purposely done them if you expostulate about any thing they have done; and yet are themselves the first to accuse. Because I have not acted thus, do you return me thanks?

Heg. Oh, far from it; I never led myself to believe you to be otherwise than you are; but I beg, Micio, that you will go with me to the mother of the young woman, and repeat to her the same; what you have told me, do you yourself tell the woman, that this suspicion of Æschinus’s fidelity was incurred on his brother’s account, and that this Music-girl was for him.

Mic. If you think I ought, or if there is a necessity for doing so, let us go.

Heg. You act with kindness; for you’ll then both have relieved her mind who is now languishing in sorrow and affliction, and have discharged your duty. But if you think otherwise, I will tell her myself what you have been saying to me.

Mic. Nay, I’ll go as well.

Heg. You act with kindness; all who are in distressed circumstances are suspicious, 74to I know not what degree; they take every thing too readily as an affront; they fancy themselves trifled with on account of their helpless condition; therefore it will be more satisfactory for you to justify him to them yourself.

They go into the house of Sostrata .

Scene V.

Table of Contents

Enter Æschinus .

I am quite distracted in mind! for this misfortune so unexpectedly to befall me, that I neither know what to do with myself, or how to act! My limbs are enfeebled through fear, my faculties bewildered with apprehension; no counsel is able to find a place within my breast. Alas! how to extricate myself from this perplexity I know not; so strong a suspicion has taken possession of them about me; not without some reason too: Sostrata believes that I have purchased this Music-girl for myself : the old woman informed me of that. For by accident, when she was sent for the midwife, I saw her, and at once went up to her. “How is Pamphila?” I inquired; “is her delivery at hand? Is it for that she is sending for the midwife?” “Away, away, Æschinus,” cries she; “you have deceived us long enough; already have your promises disappointed us sufficiently.” “Ha!” said I; “pray what is the meaning of this?” “Farewell,” she cries ; “keep to her who is your choice.” I instantly guessed what it was they suspected, but still I checked myself, that I might not be telling that gossip any thing about my brother, whereby it might be divulged. Now what am I to do? Shall I say she is for my brother, a thing that ought by no means to be repeated any where? However, let that pass. It is possible it might go no further. I am afraid they would not believe it, so many probabilities concur against it : ’twas I myself carried her off; ’twas I, my own self, that paid the money for her ; ’twas my own house she was carried to. This I confess has been entirely my own fault. Ought I not to have disclosed this affair, just as it happened, to my father? I might have obtained his consent to marry her. I have been too negligent hitherto; henceforth, then, arouse yourself, Æschinus. This then is the first thing; to go to them and clear myself. I’ll approach the door. ( Advances to the door of Sostrata’s house. ) Confusion! I always tremble most dreadfully when I go to knock at that door . ( Knocking and calling to them within. ) Ho there, ho there! it is Æschinus; open the door immediately, some one. ( The door opens. ) Some person, I know not who, is coming out; I’ll step aside here. ( He stands apart. )

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