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18 Perhaps the burlesque of the two well-known commanders bemoaning themselves in this parody of popular music does not imply more childishness on the part of an Athenian audience than the nigger choruses and comic operas of our own day. But, as Demosthenes, the stronger character of the pair, observes at last—"crying's no good." They must find some remedy. And there is one which occurs to him,—an effectual one—but of which the very name is terrible, and not safely to be uttered. It lies in a word that may be fatal to a slave, and is always of ill omen to Athenian ears. At last, after a fashion quite untranslatable, they contrive to say it between them—"Run away." The idea seems excellent, and Demosthenes proposes that they should take the audience into their confidence, which accordingly they do,—begging them to give some token of encouragement if the plot and the dialogue so far please them:—

"Dem. (to the audience.) Well, come now! I'll tell ye about it—Here are we,

A couple of servants—with a master at home

Next door to the hustings. He's a man in years,

A kind of a bean-fed, husky, testy character,

Choleric and brutal at times, and partly deaf.

It's near about a month now, that he went

And bought a slave out of a tanner's yard,

A Paphlagonian born, and brought him home,—

As wicked a slanderous wretch as ever lived.

This fellow, the Paphlagonian, has found out