ΜΑΡ.

Μὴν κάμνετε. . .

ΛΕΑ. Σίκω, φύγε ἀπ' ἐδώ.

ΠΛΑ. Βοήθεια, βοήθεια. [Φεύγει ἀπὸ τὴν σκάλαν, Λέανδρος θέλει νὰ τὴν ἀκολουθήσῃ μὲ τὸ σπαθὶ, καὶ ὁ Εὐγ· τὸν 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.]

ΕΥΣ. [Μὲ ἅρματα εἰς τὸ χέρι πρὸς διαφέντευσιν τῆς Πλάτζιδας, ἐναντίον τοῦ Λεάνδρου, ὁπῶ τὴν κατατρέχει.] ΜΑΡ. [Εὐγαίνει καὶ αὐτὸς σιγὰ σιγὰ ἀπὸ τὸ ἐργα στήρι, καὶ φεύγει λέγωντας.] Rumores fuge. [Ρουμόρες φούγε. ] *

Οἱ Δούλοι. [ ̓Απὸ τὸ ἐργαστήρι ἀπερνοῦν εἰς τὸ χάνι, καὶ κλειοὺν τὴν πόρταν.]

ΒΙΤ. [Μένει εἰς τὸν καφενέ βοηθημένη ἀπὸ τὸν Ριδόλφον.]

ΛΕΑ. Δόσετε τόπον· θέλωρινὰ ἔμβω νὰ ἔμβω εἰς ἐκεῖνο τὸ χάνι. [Μὲ τὸ σπαθὶ εἰς τὸ χέ· ἐναντίον τοῦ Εὐγενίου.] ΕΥΓ. Οχι, μὴ γένοιτο ποτέεἶσαι ἕνας σληρόκαρδος ἐναντίον τῆς γυναικός σου, καὶ ἐγὼ θέλει τήν διαφεντεύσω ὡς εἰς τὸ ὕστερον αἷμα.

ΛΕΑ. Σοῦ κάμνω ὅρκον πῶς θέλει τὸ μετανοιώσης. {Κινηγῳ τὸν Εὐγένιον μὲ τὸ σπαθί.]

ΕΥΓ. Δὲν σὲ φοβοῦμαι. [Κατατρέχει τὸν Λέανδρον, καὶ τὸν βιάζει νὰ συρθῇ ὀπίσω τόσον, ὁποῦ εὑρίσκωντας ἀνοικτὸν τὸ σπῆτι τῆς χορεύτριας, ἐμβαίνει εἰς αὐτὸς καὶ σώνεται.]

TRANSLATION.

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

Pie. Oh God! from the window it seemed that I heard my husband's voice. If he is here, I have arrived in time to make

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

him ashamed. [A Servant enters from the Shop.] Boy, tell me, pray, who are in those chambers.

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

Pla. Flaminio is not amongst 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, Nà Cỹ, và gã, 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! [Flies 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 GamingHouse 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.]*

* Závera-"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 selected 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.