The German present participle is called Partizip I (Participle One)

sprechen (to speak) -----> sprechend (speaking)
lachen (to laugh) -----> lachend (laughing)

denken ---------> denkend

____________________
(this almost has the 3!!! pattern that i'm looking for)

Das Gedicht „Nachtgedanken“ von Heinrich Heine.

Denk ich an Deutschland in der Nacht,
Dann bin ich um den Schlaf gebracht,
Ich kann nicht mehr die Augen schließen,
Und meine heißen Tränen fließen.

--- it seems that...

ich denke
ich denk -------- is the usual form

by inversion [Denk ich] the verb becomes like Present-participle

Like the [Kommen] at the Joke-opening, it seems to create
a momentum to urge the reader to read the rest of the poem.

___________________is the (very first) [Denk] in a command form?

bard.google.com>>>

No, "Denk" in the poem "Denk ich an Deutschland in der Nacht" is not a
command form. Here's why:

Grammatical Form: The verb "Denk" is in the first-person singular
indicative present tense (ich denke). This tense is used to describe
ongoing actions or habits, not to give commands.

Context: The poem expresses the speaker's thoughts and feelings.
Commands are used to tell someone to do something, and that's
not the purpose here.

Overall Meaning: The line "Denk ich an Deutschland in der Nacht"
translates to "When I think of Germany at night." This clearly describes
a recurring thought or action, not giving an order.

So, "Denk" functions as the main verb in a subordinate clause, setting
the condition for the speaker's sleepless state.

On 6/18/2024 4:32 PM, HenHanna wrote:
>
> The German present participle is called Partizip I (Participle One)
>
>          sprechen (to speak) ----->   sprechend (speaking)
>            lachen (to laugh) ----->   lachend (laughing)
>
>                denken    --------->   denkend
>
>
> ____________________
>                 (this almost has the 3!!! pattern that i'm looking for)
>
>
>        Das Gedicht „Nachtgedanken“   von Heinrich Heine.
>
> Denk ich an Deutschland in der Nacht,
> Dann bin ich um den Schlaf gebracht,
> Ich kann nicht mehr die Augen schließen,
> Und meine heißen Tränen fließen.
>
>
>     --- it seems that...
>
>             ich denke
>             ich denk  -------- is the usual form
>
> by inversion [Denk ich]  the verb becomes like Present-participle
>
> Like the [Kommen] at the Joke-opening, it seems to create
> a momentum to urge the reader to read the rest of the poem.
>

thank you (again) for telling us that jokes are told in a
repeated Sentence-initial-Verb form.

i'm guessing that... it creates a sense of continuous Urging, urging...

the feeling of....

THen the guy goes... Then she says... and the Guy goes....
and the Dog barks... and the Cat jumps in....
..........
---> (all the way to the Punch line.)

i'm guessing that the Punch line can be told
in the usual Verb-2nd form. (for Finality)

On 6/18/2024 4:40 PM, HenHanna wrote:
> On 6/18/2024 4:32 PM, HenHanna wrote:
>>
>> The German present participle is called Partizip I (Participle One)
>>
>>           sprechen (to speak) ----->   sprechend (speaking)
>>             lachen (to laugh) ----->   lachend (laughing)
>>
>>                 denken    --------->   denkend
>>
>>
>> ____________________
>>                  (this almost has the 3!!! pattern that i'm looking for)
>>
>>
>>         Das Gedicht „Nachtgedanken“   von Heinrich Heine.
>>
>> Denk ich an Deutschland in der Nacht,
>> Dann bin ich um den Schlaf gebracht,
>> Ich kann nicht mehr die Augen schließen,
>> Und meine heißen Tränen fließen.
>>
>>
>>      --- it seems that...
>>
>>              ich denke
>>              ich denk  -------- is the usual form
>>
>> by inversion [Denk ich]  the verb becomes like Present-participle
>>
>> Like the [Kommen] at the Joke-opening, it seems to create
>> a momentum to urge the reader to read the rest of the poem.
>>
>
> thank you (again) for telling us that jokes are told in a
> repeated  Sentence-initial-Verb   form.
>
> i'm guessing that... it creates a sense of continuous Urging, urging...
>
> the feeling of....
>
>             THen the guy goes...  Then she says... and the Guy goes....
>              and the Dog barks... and the Cat jumps in....
>             ..........
>                                --->   (all the way to the Punch line.)
>
>
>  i'm guessing that the Punch line can be told
>                in the usual  Verb-2nd form.  (for Finality)

Kommen drei Logiker in eine Bar.
Der Kellner fragt: "Na, was darfs sein, die Herren? Drei Bier?"
Sagt der erste Logiker "Ich weiß nicht",
der zweite auch "Ich weiß nicht" und
der Dritte sagt "Ja"

__________________________ Helmut Richter teaches us :

>>> In German, jokes are typically told with inversion in all
sentences that belong to the narrative.

(inverted) (normal)
(inverted) (normal)

Like in a simple musical tune. Maybe like:

G C7
G C (or Dm G C)

Tue, 18 Jun 2024 16:32:52 -0700: HenHanna <HenHanna@devnull.tb>
scribeva:
> Das Gedicht „Nachtgedanken“ von Heinrich Heine.
>
>Denk ich an Deutschland in der Nacht,
>Dann bin ich um den Schlaf gebracht,
>Ich kann nicht mehr die Augen schließen,
>Und meine heißen Tränen fließen.
>
> --- it seems that...
> ich denke
> ich denk -------- is the usual form

No, "ich denke" is the usual form. But in certain contexts, like in
informal speech, for phonetic reasons (shwa-glottal stop-i doesn't
sound nice, doesn't flow), or here in the poem for reasons of meter,
(_.._._._ is OK, _..._..._ is not),

>by inversion [Denk ich] the verb becomes like Present-participle

As said, phonetic reason and meter. Nothing to do with participles, it
is just a present, first person singular. In connection with the
"dann" in the next line, it becomes a condition, a context, "When I
think of ..., then I".

Denkend and Deutschland, Thinking of Germany would also be possible,
like in the famous Dutch poem by Hendrik Marsman:
"Denkend aan Holland zie ik brede rivieren
Traag door oneindig laagland gaan."

But "Denk ich" is not a participium.

>Like the [Kommen] at the Joke-opening, it seems to create
>a momentum to urge the reader to read the rest of the poem.

I don't think so.

>___________________is the (very first) [Denk] in a command form?

No. The imperative usually doesn't have a personal pronoun, (except
with the polite Sie), so the "ich" makes it an indicative, not an
imperative.

>Overall Meaning: The line "Denk ich an Deutschland in der Nacht"
>translates to "When I think of Germany at night." This clearly describes
>a recurring thought or action, not giving an order.
>
>So, "Denk" functions as the main verb in a subordinate clause, setting
>the condition for the speaker's sleepless state.

Correct.

Wed, 19 Jun 2024 07:26:42 +0200: Ruud Harmsen <rh@rudhar.com>
scribeva:

>Tue, 18 Jun 2024 16:32:52 -0700: HenHanna <HenHanna@devnull.tb>
>scribeva:
>> Das Gedicht „Nachtgedanken“ von Heinrich Heine.
>>
>>Denk ich an Deutschland in der Nacht,
>>Dann bin ich um den Schlaf gebracht,
>>Ich kann nicht mehr die Augen schließen,
>>Und meine heißen Tränen fließen.
>>
>> --- it seems that...
>> ich denke
>> ich denk -------- is the usual form
>
>No, "ich denke" is the usual form. But in certain contexts, like in
>informal speech, for phonetic reasons (shwa-glottal stop-i doesn't
>sound nice, doesn't flow), or here in the poem for reasons of meter,
>(_.._._._ is OK, _..._..._ is not),

This is a nice example of how I find it hard to imagine why anyone
would find this difficult. But that of course if because German, and
my native Dutch, have the exact same possibilities in this case. For a
speaker of a language in which this structure is not possible, like
English, it IS of course difficult. I can rationally, intellectually,
understand that difficulty, but I do not "feel" it.

What you are used to, seems easy, even when it is not.
Good language learning is by exposure. Engraving patterns in the
brain, making them seem easy.

On 2024-06-19, Ruud Harmsen <rh@rudhar.com> wrote:

>>Denk ich an Deutschland in der Nacht,
>>Dann bin ich um den Schlaf gebracht,
>>
>> --- it seems that...
>> ich denke
>> ich denk -------- is the usual form
>
> No, "ich denke" is the usual form. But in certain contexts, like in
> informal speech, for phonetic reasons (shwa-glottal stop-i doesn't
> sound nice, doesn't flow), or here in the poem for reasons of meter,

The present tense first person singular -e is frequently omitted
in colloquial speech. This dovetails with another feature: A subject
pronoun is frequently cliticized to a preceding verb. That is
obvious for a reduced form (gibt es > gibt's), but it also applies
to forms that are unreduced, at least in spelling, when the combination
produces a trochee. "Denk ich" /ˈdɛnkɪç/ and "bin ich" /ˈbɪnɪç/
are really pronounced as single words,

When you slide further into colloquial or regional speech, reduction
and assimilation extend this to further forms:
denkst du > denkste
denken wir > denkmer
denken sie/Sie > denkense

"Denkste!" specifically has been lexified into the standard language
as an interjection <wiktionary>used to dismiss an idea as ridiculous
or nonsensical</>. (Not sure I agree with that definition, but
dictionary entries are scarce.)

--
Christian "naddy" Weisgerber naddy@mips.inka.de

On 6/18/2024 7:16 PM, HenHanna wrote:
> On 6/18/2024 4:40 PM, HenHanna wrote:
>> On 6/18/2024 4:32 PM, HenHanna wrote:
>>>
>>> The German present participle is called Partizip I (Participle One)
>>>
>>>           sprechen (to speak) ----->   sprechend (speaking)
>>>             lachen (to laugh) ----->   lachend (laughing)
>>>
>>>                 denken    --------->   denkend
>>>
>>>
>>> ____________________
>>>                  (this almost has the 3!!! pattern that i'm looking for)
>>>
>>>
>>>         Das Gedicht „Nachtgedanken“   von Heinrich Heine.
>>>
>>> Denk ich an Deutschland in der Nacht,
>>> Dann bin ich um den Schlaf gebracht,
>>> Ich kann nicht mehr die Augen schließen,
>>> Und meine heißen Tränen fließen.
>>>
>>>
>>>      --- it seems that...
>>>
>>>              ich denke ------- is the usual form
>>>              ich denk  -------- is the usual form
>>>
>>> by inversion [Denk ich]  the verb becomes like Present-participle
>>>
>>> Like the [Kommen] at the Joke-opening, it seems to create
>>> a momentum to urge the reader to read the rest of the poem.
>>>
>>
>> thank you (again) for telling us that jokes are told in a
>> repeated  Sentence-initial-Verb   form.
>>
>> i'm guessing that... it creates a sense of continuous Urging, urging...
>>
>> the feeling of....
>>
>>              THen the guy goes...  Then she says... and the Guy goes....
>>               and the Dog barks... and the Cat jumps in....
>>              ..........
>>                                 --->   (all the way to the Punch line.)
>>
>>
>>   i'm guessing that the Punch line can be told
>>                 in the usual  Verb-2nd form.  (for Finality)
>
>
>
> Kommen drei Logiker in eine Bar.
>       Der Kellner fragt: "Na, was darfs sein, die Herren? Drei Bier?"
> Sagt der erste Logiker "Ich weiß nicht",
>            der zweite auch "Ich weiß nicht" und
>    der Dritte sagt "Ja"
>
>
> __________________________ Helmut Richter    teaches us :
>
> >>>   In German, jokes are typically told with inversion in all
> sentences that belong to the narrative.
>
>
>                (inverted)  (normal)
>                (inverted)  (normal)
>
> Like in a simple musical tune.       Maybe like:
>
>                 G    C7
>                 G    C        (or Dm G C)
>
>

>>> The present tense first person singular -e is frequently omitted
in colloquial speech.

Yes. i knew that. (Ich habe, vs. Ich hab')

>>> Denk ich an Deutschland in der Nacht,
>>> Dann bin ich um den Schlaf gebracht,
>>> Ich kann nicht mehr die Augen schließen,
>>> Und meine heißen Tränen fließen.

[Denk ich...] in Latin, do you have this type of
Sentence-initial verb?

HenHanna wrote:
>
> >>> Denk ich an Deutschland in der Nacht,
> >>> Dann bin ich um den Schlaf gebracht,
> >>> Ich kann nicht mehr die Augen schließen,
> >>> Und meine heißen Tränen fließen.
>
>
> [Denk ich...]  in Latin, do you have this type of
>                                    Sentence-initial verb?
>
>
I've not seen that in classical Latin.
They preferred a subordinate clause; ut (utcumque) cogito ...
A favourite construction was a participle; mihi Germaniam noctu
cogitanti ...
Ed

Op 20/06/2024 om 0:10 schreef Christian Weisgerber:
> On 2024-06-19, Ruud Harmsen <rh@rudhar.com> wrote:
>
>>> Denk ich an Deutschland in der Nacht,
>>> Dann bin ich um den Schlaf gebracht,
>>>
>>> --- it seems that...
>>> ich denke
>>> ich denk -------- is the usual form
>>
>> No, "ich denke" is the usual form. But in certain contexts, like in
>> informal speech, for phonetic reasons (shwa-glottal stop-i doesn't
>> sound nice, doesn't flow), or here in the poem for reasons of meter,
>
> The present tense first person singular -e is frequently omitted
> in colloquial speech. This dovetails with another feature: A subject
> pronoun is frequently cliticized to a preceding verb. That is
> obvious for a reduced form (gibt es > gibt's), but it also applies
> to forms that are unreduced, at least in spelling, when the combination
> produces a trochee. "Denk ich" /ˈdɛnkɪç/ and "bin ich" /ˈbɪnɪç/
> are really pronounced as single words,
>
> When you slide further into colloquial or regional speech, reduction
> and assimilation extend this to further forms:
> denkst du > denkste
> denken wir > denkmer
> denken sie/Sie > denkense

Only the "denkste" form feels like a true clitic to me (...)

> "Denkste!" specifically has been lexified into the standard language
> as an interjection <wiktionary>used to dismiss an idea as ridiculous
> or nonsensical</>. (Not sure I agree with that definition, but
> dictionary entries are scarce.)

Siehste? or Siehste!
Frequently heard in "die heute show" ;)

(...) probably because we've got it too in Flemish dialects:

denkte? (denkt ge? [nl] denk je?)
Depending on assimilation it is also (mostly) -de:

Ziede? (ziet ge? siehste? you see?)
Komde? (komt ge? you come?)
Zijde...? (zijt ge?/ben je? are you?)

We can also still add the full pronoun*:
Komde gij nog? Are you going to come?
Wa-tenkte gij wel? What do you think you're... thinking?
Dan doede (gij) 't maar alleen. (If you insist) then you'll be on your
own doing this.

* even in the 1st person:
Dan komme'k ik morgen. (Dan kom ik morgen. Then I come tomorrow.)

I was always convinced this clitic stems from (our) obsolete "du"
pronoun, also given the German example. But I've read some sources
denying this (forgotten which). So if anybody can shed light on the
etymology...

--
guido wugi

--
guido wugi

On 6/20/2024 1:41 AM, Ed Cryer wrote:
> HenHanna wrote:
>
>>
>>  >>> Denk ich an Deutschland in der Nacht,
>>  >>> Dann bin ich um den Schlaf gebracht,
>>  >>> Ich kann nicht mehr die Augen schließen,
>>  >>> Und meine heißen Tränen fließen.
>>
>>
>> [Denk ich...]  in Latin, do you have this type of
>>                                     Sentence-initial verb?
>>
>>
>
> I've not seen that in classical Latin.
> They preferred a subordinate clause; ut (utcumque) cogito ...
>
> A favourite construction was a participle; mihi Germaniam noctu
> cogitanti ...
>
> Ed
>

Thank you.... my latest brush with Latin lit.... was

Asinaria by Plautus.... i read and listened
to the first 15 (?) min. of the opening scene.

Demaenetus (Athenian gentleman) is talking to his wise slave Libanus
...........

the way Libanus talks (back) doesn't suggest that he's a slave or
servile at ALL!!! --- which is a bit odd.

‘nudo vestimenta detrahere me jubes’

detrahere -- must be the ROOT form (just like French)

[me jubes] word order is also like French!

jubes is the most unfamiliar (of the 5 words)

i guess... the [nudo] comes first ... for emphasis.

trahere (in detrahere) must be cognate with Tractor, Traction

____________________________ A "detractor" bares the target-person Nude

The word "detractor" comes from a Latin root that captures the essence
of its meaning perfectly. Here's the etymology breakdown:

Latin origin: Detractor directly comes from the Latin verb "detrahere"

Latin verb meaning: "Detrahere" means "to take down, pull down,
disparage, or speak ill of."

___________________________________
The word "trattoria" has a delicious history rooted in treating people
well! Here's the breakdown:

Origin: Italian word "trattoria"

Root: Italian "trattare" meaning "to treat"

Latin connection: "trattare" comes from the Latin verb "tractare" which
has a broader meaning of "to manage, handle, deal with, conduct oneself
toward"

Possible further back: The Latin word itself might be linked to
"trahere" (past participle tractus) meaning "to pull, draw"

______________________________________
While "jube" itself isn't commonly used in English, "jubeo" is the root
for several English words related to commands and orders, such as:

Jubilation: expressing great joy or triumph (derived from the idea of
being commanded to celebrate)
Jubilee: a special anniversary celebrating a reign or event (again,
connected to the celebratory command)
Injunction: a legal order

HenHanna wrote:
>
> Thank you....  my latest brush with Latin lit.... was
>
> Asinaria by Plautus....   i read and listened
>                to the first 15 (?) min. of the opening scene.
>
> Demaenetus (Athenian gentleman) is talking to his wise slave Libanus
> ..........
>
> the way Libanus talks (back) doesn't suggest that he's a slave or
> servile at ALL!!!  --- which is a bit odd.
>
>
>
Plautus wrote comedies.
Slaves are wiser than their masters, talk back easily.
Sons are chasing prostitutes.
Husbands chase other women.
Brothers meet up with long-lost brothers who were sold or enslaved.
It all reflects the late Hellenistic world of Europe.
Ed

On 6/21/2024 1:31 AM, Ed Cryer wrote:
> HenHanna wrote:
>
>>
>> Thank you....  my latest brush with Latin lit.... was
>>
>> Asinaria by Plautus....   i read and listened
>>                 to the first 15 (?) min. of the opening scene.
>>
>> Demaenetus (Athenian gentleman) is talking to his wise slave Libanus
>> ..........
>>
>> the way Libanus talks (back) doesn't suggest that he's a slave or
>> servile at ALL!!!  --- which is a bit odd.
>>

>
> Plautus wrote comedies.
> Slaves are wiser than their masters, talk back easily.
> Sons are chasing prostitutes.
> Husbands chase other women.
> Brothers meet up with long-lost brothers who were sold or enslaved.
>
> It all reflects the late Hellenistic world of Europe.
>
> Ed

wow!

Jeeves, Benson... the wise Fools from Shakespeare.

>>> Absolutely! Roman comedies, particularly those by
Plautus, are famous for featuring "servus callidus," which translates to
"clever slave."

These characters are a major source of inspiration for Jeeves and
Benson. Here are some prominent examples:

Plautus: Playwright Plautus (2nd century BCE) is a key figure in
Roman comedy. Many of his plays feature a "servus callidus" who outwits
their masters and other characters. Some famous examples include:

Pseudolus: The titular character, Pseudolus, is a cunning slave who
devises elaborate schemes to help his young master get money.

Tranio: In "Mostellaria," Tranio hatches a plan to hide his
master's son's spending habits from his father.

Palaestrio: This slave from "Miles Gloriosus" outwits a boastful
soldier to help a young woman escape.

Stock Character: The "clever slave" became a stock character in
Roman comedy. These characters were often witty, resourceful, and more
intelligent than their masters. They used their cunning to solve
problems, often caused by their masters' foolishness.

_______________________

Libanus' role in the play:

Demaenetus' Slave: Libanus serves Demaenetus, the play's central
character.

Facilitator: Demaenetus, aware of his son's affair with a
prostitute, tasks Libanus with finding money to fund the escapades.

Libanus plays a crucial role in devising schemes to get the money.

Cunning Collaborator: Libanus works alongside another slave, Leonida, to
trick a stranger into handing over money owed for some donkeys. This
showcases their cleverness.

________________________

The Comedy of Asses: A Summary

Plautus' "Asinaria" (The Comedy of Asses) is a hilarious
play filled with mistaken identities, witty slaves, and chaotic antics.

Here's a breakdown of the plot:

The Players:

Demaenetus: A middle-aged Athenian gentleman, secretly supportive of his
son's desires.

Argyrippus: Demaenetus' son, in love with Philaenium, a prostitute
next door.

Philaenium: The beautiful object of Argyrippus' affection, but
controlled by her ruthless mother.

Cleareta: Philaenium's mother, a greedy procuress (brothel owner)
who prioritizes profit.

Libanus and Leonida: Demaenetus' clever slaves, key players in
securing funds for Argyrippus.

Saurea:
Demaenetus' wife's steward, unknowingly involved
in the money scheme.

Pyrrhia:
Demaenetus' formidable wife, unaware of the secret dealings.

The Plot Thickens:

Argyrippus desperately needs money to secure exclusive access to
Philaenium for a year.

Demaenetus, surprisingly understanding, seeks Libanus' help to raise the
funds.

Libanus and Leonida concoct a plan: they impersonate Saurea and
trick a stranger who owes money for donkeys (asini in Latin, hence the
title) into paying them.

The money is used to secure Philaenium, but complications arise.

Cleareta attempts to double-book Philaenium with another man, leading to
hilarious chaos.

Demaenetus, unexpectedly, wants a night with Philaenium himself,
creating a love triangle.

Libanus and Leonida devise further schemes to appease everyone and
maintain the charade.

The Resolution (with a Twist):

Through a series of misunderstandings and frantic maneuvering, the
slaves manage to keep everyone (mostly) happy.

Demaenetus backs down from his Philaenium request, prioritizing his
marriage.

Argyrippus secures his year with Philaenium.

The play ends with a sense of restored order, albeit a slightly
precarious one.

-------- sounds as good as Shakespeares's best comedies!

HenHanna wrote:
> On 6/21/2024 1:31 AM, Ed Cryer wrote:
>> HenHanna wrote:
>>
>>>
>>> Thank you....  my latest brush with Latin lit.... was
>>>
>>> Asinaria by Plautus....   i read and listened
>>>                 to the first 15 (?) min. of the opening scene.
>>>
>>> Demaenetus (Athenian gentleman) is talking to his wise slave Libanus
>>> ..........
>>>
>>> the way Libanus talks (back) doesn't suggest that he's a slave or
>>> servile at ALL!!!  --- which is a bit odd.
>>>
>
>
>
>>
>> Plautus wrote comedies.
>> Slaves are wiser than their masters, talk back easily.
>> Sons are chasing prostitutes.
>> Husbands chase other women.
>> Brothers meet up with long-lost brothers who were sold or enslaved.
>>
>> It all reflects the late Hellenistic world of Europe.
>>
>> Ed
>
>
> wow!
>
> Jeeves, Benson...   the wise Fools from Shakespeare.
>
>
>
>        >>>  Absolutely!    Roman comedies, particularly those by
> Plautus, are famous for featuring "servus callidus," which translates to
> "clever slave."
>
> These characters are a major source of inspiration for Jeeves and
> Benson. Here are some prominent examples:
>
> Plautus:    Playwright Plautus (2nd century BCE) is a key figure in
> Roman comedy. Many of his plays feature a "servus callidus" who outwits
> their masters and other characters.    Some famous examples include:
>
> Pseudolus:      The titular character, Pseudolus, is a cunning slave who
> devises elaborate schemes to help his young master get money.
>
> Tranio:         In "Mostellaria," Tranio hatches a plan to hide his
> master's son's spending habits from his father.
>
> Palaestrio:     This slave from "Miles Gloriosus" outwits a boastful
> soldier to help a young woman escape.
>
>
> Stock Character:     The "clever slave" became a stock character in
> Roman comedy.  These characters were often witty, resourceful, and more
> intelligent than their masters.    They used their cunning to solve
> problems, often caused by their masters' foolishness.
>
> _______________________
>
>
>  Libanus' role in the play:
>
> Demaenetus' Slave:     Libanus serves Demaenetus, the play's central
> character.
>
> Facilitator:     Demaenetus, aware of his son's affair with a
> prostitute, tasks Libanus with finding money to fund the escapades.
>
>
> Libanus plays a crucial role in devising schemes to get the money.
>
> Cunning Collaborator: Libanus works alongside another slave, Leonida, to
> trick a stranger into handing over money owed for some donkeys. This
> showcases their cleverness.
>
> ________________________
>
>
> The Comedy of Asses: A Summary
>
>             Plautus' "Asinaria" (The Comedy of Asses) is a hilarious
> play filled with mistaken identities, witty slaves, and chaotic antics.
>
> Here's a breakdown of the plot:
>
> The Players:
>
> Demaenetus: A middle-aged Athenian gentleman, secretly supportive of his
> son's desires.
>
> Argyrippus:      Demaenetus' son, in love with Philaenium, a prostitute
> next door.
>
> Philaenium:       The beautiful object of Argyrippus' affection, but
>                    controlled by her ruthless mother.
>
> Cleareta:     Philaenium's mother, a greedy procuress (brothel owner)
>               who prioritizes profit.
>
>
> Libanus and Leonida:    Demaenetus' clever slaves, key players in
> securing funds for Argyrippus.
>
> Saurea:
>            Demaenetus' wife's steward, unknowingly involved
>              in the money scheme.
>
> Pyrrhia:
>           Demaenetus' formidable wife, unaware of the secret dealings.
>
>
> The Plot Thickens:
>
> Argyrippus desperately needs money to secure exclusive access to
> Philaenium for a year.
>
> Demaenetus, surprisingly understanding, seeks Libanus' help to raise the
> funds.
>
> Libanus and Leonida concoct a plan:     they impersonate Saurea and
> trick a stranger who owes money for donkeys (asini in Latin, hence the
> title) into paying them.
>
>
> The money is used to secure Philaenium, but complications arise.
>
>
> Cleareta attempts to double-book Philaenium with another man, leading to
> hilarious chaos.
>
> Demaenetus, unexpectedly, wants a night with Philaenium himself,
> creating a love triangle.
>
>
> Libanus and Leonida devise further schemes to appease everyone and
> maintain the charade.
>
>
>
> The Resolution (with a Twist):
>
> Through a series of misunderstandings and frantic maneuvering, the
> slaves manage to keep everyone (mostly) happy.
>
> Demaenetus backs down from his Philaenium request, prioritizing his
> marriage.
>
> Argyrippus secures his year with Philaenium.
>
>
> The play ends with a sense of restored order, albeit a slightly
> precarious one.
>
>
>            -------- sounds as good as  Shakespeares's  best comedies!
>
The comedies of Plautus and Terence are very (what's the word?)
restrained; or maybe, gentle. They are rather like our sitcoms, with a
satirical streak. Taken from the Greek New Comedy of Menander and Philemon.
I prefer the raucous satire of classical Greece; the plays of
Aristophanes. They satirise ideas and political ideologies, and there's
not much gentleness in them. And when it comes to slander, well, they
don't hold back one inch; they lay into politicians, famous characters,
fellow playwrights, with full gusto.
Ed