The above is the commencement of a long dramatic satire on the Greek priesthood, princes, and gentry; it is contemptible as a composition, but perhaps curious as a specimen of their rhyme: I have the whole in MS. but this extract will be found sufficient. The Romaic in this composition is so easy as to render a version an insult to a scholar; but those who do not understand the original will excuse the following bad translation of what is in itself indifferent.

TRANSLATION.

A Russian, Englishman, and Frenchman making the tour of Greece, and observing the miserable state of the country, interrogate, in turn, a Greek Patriot, to learn the cause; afterwards an Archbishop, then a Vlackbey,* a Merchant, and Cogia Bachi or Primate.

Thou friend of thy country! to strangers record
Why bear ye the yoke of the Ottoman Lord?
Why bear ye these fetters thus tamely display'd,
The wrongs of the matron, the stripling, and maid' ?
The descendants of Hellas's race are not ye!
The patriot sons of the sage and the free,
Thus sprung from the blood of the noble and brave,
To vilely exist as the Mussulman slave!
Not such were the fathers your annals can boast,
Who conquer'd and died for the freedom you lost!
Not such was your land in her earlier hour,
The day-star of nations in wisdom and power!
And still will you thus unresisting increase,
Oh shameful dishonour ! the darkness of Greece ?
Then tell us, beloved Achæan! reveal

The cause of the woes which you cannot conceal.

The reply of the Philellenist I have not translated, as it is no better than the question of the travelling triumvirate; and the above will sufficiently show with what kind of composition the Greeks are now satisfied. I trust I have not much iujured the original in the few lines given as faithfully, and as near the

"Oh, Miss Bailey! unfortunate Miss Bailey!"

* Vlackbey, Prince of Wallachia.

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 bold 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'.

ΠΛΑ.

ΠΛΑΤΖΙΔΑ εἰς τὴν πόρταν τοῦ χανιοῦ, καὶ οἱ ἄνωθεν.

Ω Θεέ! ἀπὸ τὸ παραθύρι μου ἐφάνη νὰ ἀκούσω τὴν φωνὴν του ἀνδρός μου 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. Ἕνας ὁ κῦρ Εὐγένιος, ὁ ἄλλος ὁ κῦρ Μάρτιος Να πολιτάνος, 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 κὺρ 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 [Πρὸς τὸν δούλον.]

ΔΟΥ. ‘Ορισμός σας· (συνηθισμένον ὀφφίκιον τῶν δουλευτῶν.) ἐργαστήρι του παιγνιδιοῦ.]

νὰ τοὺς παίξω μίαν.

[Τὴν ἐμπάζει ἀπὸ τὸ

[Πρὸς τὴν Βιττό

ΡΙΔ. Καρδιά, καρδιὰ, κάμετε καλὴν καρδιὰν, δὲν εἶναι τίποτες. 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. Ὄχι, σταθήτε.

ΜΑΡ. Μὴν κάμνετε.

ΛΕΑ. Σίκω, φύγε ἀπ' ἐδώ.

ΠΛΑ. Βοήθεια, βοήθεια. [Φεύγει ἀπὸ τήν σκάλαν, ὁ Λέανδρος, θέλει νὰ τὴν ἁκολουθήσῃ 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 ἅρματα 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.] Rumores 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.]

ΛΕΑ. 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 ἐναντίον τῆς γυναικός σου, καὶ ἐγὼ θέλει τήν διαφεντεύσω ὡς εἰς τὸ ὕστερον αἷμα.

ΛΕΑ. Σου κάμνω ὅρκον πῶς θέλει τὸ μετανοιώσῃς. [Κινηγᾷ τὸν Εὐγένιον μὲ τὸ σταθί.]

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

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

TRANSLATION.

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

Pla. 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 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 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, Nà n, và S, 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 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 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.

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

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

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