THE IMPERIAL AUTHORITY OF TITUS FLAVIU5 L L •^ Qass 1 i^Sll Rook \^0 \ Xf F V A Wh r A METRICAL DRAMA OF AN ATTEMPT UPON THE IMPERIAL AUTHORITY OF TITUS FLAVIUS ELEVENTH CESAR WITH THE TRAGIC FATB OF CASCA LENTULUS ANI>THB VNHAFFY CIRCUMSTANCBS OFHIS ACCUSATION AGAIWST THE EMPRESS LIVIA BY Acmu TcHODJK FIRST EDITION NEW YORK KAVENWOOD 6- RUTLAND 23??'ST„& LEXINGTON AYE. 1901. '1 Ykc 1.I9RABY OF CO'^'GRESS, Two Cut! lib HtceivF.3 NOV. 11 1901 CoF'SinKT ENTSY CLASS XT >tXc. No. COPv' 3.' Alij Rights Reserved. Copyright 1901, by Ravenwood & Rutland. Entered at Stationers' Hall, London, England, BY Grant Richards. To my father. PROLOGUE. IJpon the great, wide cloth of History, So sHrely rolling from the looms of Time; So laced with life and death and mystery, Shall condemnation fall if with a rhyme, Upon a long- forgotten spot, we try To 'broider in sweet Fancy's silken skeins. To weave a pattern that shall never die, A deft design where love forever reigns? But lest the grim historian be wroth, For him the play- bill bears a line or two, That he may pick from out the threads of cloth, The gold brocade, the purple and the blue. Good friends, with these apologies we ask, Your kindly favor for both mime and mask. APOLOGY. Descriptive convenience may warrant the employment of the term "unity piece" as a dcvsignation for this play, for in its construction the dramatic unities are attempted, the action being- entire and taking place upon a single scene within a space of time equivalent to that which would have been occu- pied by its occurrence in reality. The minor unities of time and place are complete, which can scarcely be said of any known English play of considerable length. Some centuries ago, the ridiculous contention was made in France that these unities were observed when the scenes of a play were contained within the walls of a building and the elapsed time did not exceed twenty four hours. These bounds, however, proved too galling and it presently became permissible for the scenes to dispose themselves anywhere with- in the city limits, while the time allowance was increased to thirty hours. But is this not the other extreme? Is it possible to observe the unity of place at a distance greater than two miles and three furlongs from the city hall? Does not the unity of time demand the denouement within twenty seven hours and fif- teen minutes? These are parlous questions. In availing themselves of these licenses the English drama- tists have surrendered the real unity, for in a play in which the scene is shifted, if only to the next room, or the curtain drop- ped, if for but a moment, the effect of continuity is certainly lost. Indeed, with the curtain once down the modern mind demands a complete change of scene and the supposed pas- sage of no small space of time, for if further incidents are to occur on the same scene or within a brief time it argues want of skill in not including them when the scene was open. Any approximation of these two unities has, therefore, an inartis- tic effect. As for the first and far more important unity, that of action ; the elusive element of plot, the essential quality of poetry, the inner significance which commands immortality, the virtue often undreamed of by the temporary and prolific playwright, the very rock of the theatre; it is appropriate to say no more than that though this action may be deemed hurried and in- volved, the greater unity has been attempted; with what suc- cess time alone can determine. An attempt at complete unity is not open to criticism for; as the supreme expression of the human race is in poetry and the height of poetry is reached in the tragic drama; that ex- e-eution which embodies the important effect of continuity cer- tainly can not be inferior to a disconnected treatment. Ridi- cule may be invited by the disparity between desire and ability but the integrity and appositeness of the desire can not be questioned. A certain freedom has been gained; at the sacrifice of regu- larity; by the mechanical arrangement of the iambics of the speeches into lines of lengths dictated by the thought to be conveyed, the typographical appearance or the vocal require- ments of a reader. A justification of this "symmetric lining, ' ' as well as of the division of an iambic between speeches, the use of three syllables in a foot and the transposition of the long and short syllables, is to be found in "The Science of English Verse," by Sidney Lanier, an admirable exposition of the fundamental principles of versification. Although the beauties of the pentametric line be foregone, that broader and more subtle rhythm of style, of which no analysis seems yet to have been made, the hidden rhythm of prose, is not only not surren- dered, but is more clearly brought out, for the effect of this method of fining is to facilitate the appreciation of the printed page by decreasing the labor of reading. Few historical liberties have been taken and the relations between the historical personages are such as are supposed to have existed. The relations between the historical and the in- vented characters and the incidents arising therefrom are, of course, fictitious; though not improbable. The action is divided into five parts, analogous to acts, by the second soliloquy of Gasea, the first and second soliloquies of Juvenal and the accession of Titus. New York City, Septei-aber, 1901. ACHIM Tchodjk. PERSONS REPRESENTED. Given in the order of their appearance on the scene . NAMES. RELATIONS. LINES. AGES. *AULUS C^ciNA, a Roman General. 160 60 *D0MITIAN, afterward the 12th. , and last Caesar, 20 25 Tranquillius, a boy, slave to Titus. 37 14 *Pliny, the younger, friend of Tacitus. 122 18 Casca, half-brother to Livia. 395 22 *Tacitus, the historian, friend of Pliny. 118 28 Narcissa, friend to Livia. 126 18 Lucia, a young girl, slave to Livia. 19 14 Livia, wife of Titus. 359 25 *TiTUS, the 11th., Caesar. 345 39 Klabo, chief slave of the Imperial Palace. 5 50 Hypokrates, a Grecian astrologer. 101 80 *Plotina, wife of Trajan. 13 27 ■^Gaudentius, architect of the Colosseum. 39 50 Martha, wife of Gaudentius. 11 45 ^Berenice, wife of Herod and Queen of Gilicia. 184 50 Yarro, a disloyal soldier. 58 30 *JuvENAL, the satirist. 206 60 MONIDES, archer to Juvenal. ' 40 ■^Apicius, a glutton. 74 44 *Vespasian, Emperor of Rome, 10th. , Caesar. 38 69 ■^JuLiA, wife of Tacitus. 3 22 Gallus, \ 5 35 Demetrius, ]- conspirators. 8 50 Graccus, ) 1 28 *Trajan, afterward 14th. , Emperor of Rome. 62 28 Sextus, a loyal soldier. 78 40 First Plebiam, \ 3 20 Second Plebian, > leaders of the mob. 6 50 Third Plebian, j 14 90 2616 Various Soldiers and Slaves and a Mob. *Known to have existed. ^Believed to have existed. The Imperial Authority of 1 itus Flavius- Place :— ROME. Year :— 79 A. D. Scene: — An atrium in the Imperial Palace of Vespasian. Beyond a colonnade the city is seen on distant hills. In the centre of the scene, somewhat elevated, is the impluvium; a large, round pool of water within a broad stone wall, slightly above the coping of which project the low-oval tops of its six massive equidistant posts. From the panels of the wall between the posts extend stone ledges or seats, with arms, and supporting brackets standing for- ward, at the ends, upon the flagstone floor. Behind the impluvium ; to the right, * flanked by columns; is a wide opening; through the stylobate supporting these and the others of the inner row of colonnade columns; into the corridor, a step higher, running entirely across the rear. Besides the corridor entrances there are two others on each side, below the stylobate. The middle entrances are curtained; the tapes- try of the one on the right being drawn, while that of the one on the left is thrown over an im- mense jar, standing between the entrance and the stylobate. To the right and left of the im- pluvium, somewhat forward, are two low, small round- tables, from each of which three broad couches radiate. Time : — The action extends from the middle of a change- able and stormy Spring afternoon to sunset. * The directions " right" and "left" are taken regarding the auditorium, and that portion of the scene nearest the auditorium is herein designated by the vjords "front", "down", "lower" , "for- ward" and "below" : the antonyms of which are applied to the portion furthest removed: the inter- vening space being referred to by the words "middle" and "centre" ^ strictly used. ^ The IMPERIAL AUTHORITY AULUS CAECINA: T1»e firft fpeaker, being difcouer ed below the impluvyum by the ryfing cnrtayn, takesafkrollfromhysbrcafte, andprcfentlie (ays to hymfelf, as he unfoHes it wytli delyberation: Could resolution unallied prevail against The charging foes of circumstance; Could resolution drive them back upon their dark retreats, And sweep the fields of battle clear; I would not ask for your uncertain aid, My wrangling and suspicious friends! "ninh.**"" '"''^^ 'Tis bitter that my triumph I must share with thee, But grateful is the thought that should the veil'ed hour, Bring forth misfortune and defeat. The most respected names in Rome will grace my fall. He strikes the paper y when, hearing fooistepSy he tries to replace it, without success. In alarm he conceals himself below nttddle right. DOMITIAN enters, upper right, and advances in medi- tation^ counting on his fingers. He discovers TRANQUJL.LIUS following in mimicry ana waves him out, when he is presently further disturbed by tlie sounds of voices on the left, DOMITIAN. ntV, lyne. A poet's solitude, it doth appear. Is never sacred to the chatterbox! Exit, lower left. En , . Y, followed bvL'AHC A " himself in (He tapestry. ter, upper left, PLINY, followed by CASCA. AULUS envelopes If in the i PLINY. No more! No more! I'll hear no niore!^f/;;J^J;^';^^^'*. ing PLINY turns to CASCA and they gradually move forward. Thy foul and bloody purpose chills my veins! CASCA. We are in Caesar's house, my friend! They say the sense of hearing doth pertain To curtains, jars and even columns here. That secret passageways do burrow in these rocky hills, Deep down to silent pits and gloomy caverns, down ao To the very jaws of Night herself. PLINY. Already, Casca, fearful of the spoken word; How wilt thou shake when thou hast laid of TITUS FLAVIUS. The Flavians In their reeking tombs, And swarms of emperors from every camp, Spring up to claim the throne, and with their veteran legions Hurry here to Rome from Dacia, Britain, Egypt, Gaul; On war and bloody mischief bent? CASCA. The fire of my ambition, bold, Will scorch and wither up these green, pretending fools. 30 Ah, Pliny, when the fateful hour doth come; I'll loose such thunderbolts of battle and of wrath, That down the limitless extent of Time's long aisles. Their echoes shall forever roll. f^^'ie/^^^MlllnTr showing that he has 'Y KC^yvWC been a^arty to the con- 1 /\v-