Denk ich an Deutschland in der Nacht, Dann bin ich um den Schlaf gebracht, ...

[HenHanna]

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"

   In German, jokes are typically told with inversion in all

sentences that belong to the narrative.
               (inverted)  (normal)
               (inverted)  (normal)
                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?

[Ed Cryer]

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 n

[HenHanna]

Post by Ed Cryer

 >>> 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

[Ed Cryer]

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 Euro

[HenHanna]

Post by Ed Cryer

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.

Post by Ed Cryer

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!

[Ed Cryer]

Post by Ed Cryer

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
Plautus:    Playwright Plautus (2nd century BCE) is a key figure in
Roman comedy. Many of his plays feature a "servus callidus" who outwits
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.
_______________________
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.
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.
           Demaenetus' wife's steward, unknowingly involved
             in the money scheme.
          Demaenetus' formidable wife, unaware of the secret dealings.
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.
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 play