idn't choose her!

SONG--LUDWIG.

At the outset I may mention it's my sovereign intention
To revive the classic memories of Athens at its best,
For the company possesses all the necessary dresses
And a course of quiet cramming will supply us with the
rest.
We've a choir hyporchematic (that is, ballet-operatic)
Who respond to the choreut of that cultivated age,
And our clever chorus-master, all but captious criticaster
Would accept as the choregus of the early Attic stage.
This return to classic ages is considered in their wages,
Which are always calculated by the day or by the week--
And I'll pay 'em (if they'll back me) all in oboloi and drachm,
Which they'll get (if they prefer it) at the Kalends that
are Greek!

(Confidentially to audience.)
At this juncture I may mention
That this erudition sham
Is but classical pretension,
The result of steady "cram.":
Periphrastic methods spurning,
To this audience discerning
I admit this show of learning
Is the fruit of steady "cram."!

CHORUS. Periphrastic methods, etc.

In the period Socratic every dining-room was Attic
(Which suggests an architecture of a topsy-turvy kind),
There they'd satisfy their thirst on a recherche cold {Greek
word}
Which is what they called their lunch--and so may you if
you're inclined.
As they gradually got on, they'd {four Greek words)
(Which is Attic for a steady and a conscientious drink).
But they mixed their wine with water--which I'm sure they didn't
oughter--
And we modern Saxons know a trick worth two of that, I
think!
Then came rather risky dances (under certain circumstances)
Which would shock that worthy gentleman, the Licenser of
Plays,
Corybantian maniac kick--Dionysiac or Bacchic--
And the Dithyrambic revels of those undecorous days.

(Confidentially to audience.)
And perhaps I'd better mention,
Lest alarming you I am,
That it isn't our intention
To perform a Dithyramb--
It displays a lot of stocking,
Which is always very shocking,
And of course I'm only mocking
At the prevalence of "