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Alexander Gottlieb Baumgarten

Aesthetica

Interlinear Beta v2 · §§576–600

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§ 576

Genus cogitandi aestheticodogmaticum vel thema habet propius, quid agendum, vel omittendum sit, enuncians, vel minus.

The aestheticodogmatic kind of thinking either has a theme more nearly declaring what is to be done, or omitted, or it has this less nearly.

Hoc est theoreticum, illud practicum.

This is theoretical; that is practical.

Practicum denuo vel habet thema commendandum, paraeneticum, vel dissuadendum, elencticum.

The practical kind again either has a theme to be recommended, paraenetic, or to be dissuaded from, elenctic.

Quemadmodum Ciceronis et rhetorica et philosophica scripta sunt exempla generis cogitandi aestheticodogmatici, ita officia praesertim practici; Lucretius est exemplum cogitandi generis aestheticotheoretici.

Just as both the rhetorical and philosophical writings of Cicero are examples of the aestheticodogmatic kind of thinking, so the Offices especially are examples of the practical kind; Lucretius is an example of the aestheticotheoretical kind of thinking.

Saturae elenctici.

Satires are examples of the elenctic kind.

In his Iuvenalis, quam omnino ficta promittat exempla, mavult experiri,

Among these, Juvenal, although he promises wholly fictive examples, prefers to test

Sourced quotation · Juvenal [582]

quid concedatur in illos, Quorum Flaminia tegitur cinis atque Latina.

"I will try then what I may be allowed to vent on those whose ashes are
covered by the Flaminian or Latin road."

§ 577

Studium veritatis in aestheticodogmaticis cuiuscunque generis, § 576. 7) si vel maxime complete certo cognoscenda tractet, tamen nunc non adscendet ultra verisimilitudinem aliquam, quam dicemus dogmaticam, qua dogma non quidem complete certum redditur, neque tamen ulla in eodem falsitas, repugnantia interna, vel contradictio cum complete certis, aut hoc saltim dogmate certioribus, nulla incohaerentia cum principiis, unde deducendum foret, aut cum inde derivandis consectariis totalis, e. c. nec intellectu, nec ratione, nec rationis analogo, quantae hae facultates in praecipuis obiectis personalibus supponendae sunt, appercipiatur. § 483.

The study of truth in aestheticodogmatic matters of whatever kind, § 576, 7) if it treats things to be known, even in the highest degree, with complete certainty, nevertheless it will not now ascend beyond a certain verisimilitude, which we shall call dogmatic, by which a dogma is indeed not rendered completely certain, and yet no falsity in the same, no internal repugnance, or contradiction with completely certain things, or at least with things more certain than this dogma, no incoherence with the principles from which it would have to be deduced, or with the consequences to be derived from it, a total incoherence, and so on. May it be perceived neither by the understanding, nor by reason, nor by the analogue of reason, to the degree that these faculties are to be supposed in the principal personal objects. § 483.

§ 578

Nam definitiones statim, quando non exasciantur ad logicae artis severas regulas, aut in descriptiones iterum pulcras affabre resolvuntur, propositiones generales si enthymematice omissis iudiciis intuitivis, ex quibus formatae sunt, tamen exhibentur, ut experientiae, non axiomata solum et postulata secundaria miscentur primariis, sed et theoremata multa et problemata indemonstrabilium instar sumuntur, aut probantur saltibus logice illegitimis, etiamsi pulcris, formis crypticis, de quibus convincendus non sit complete certus, interim elegantibus et oratoriis, scholia si regnant, et plurimum absorbent loci: quid aliud ex tali meditatione, si vel maxime complete certum thema habeat, nunc prodibit, nisi dogmatica verisimilitudo? § 577.

For definitions at once, when they are not hewn to the severe rules of the logical art, or are again artfully resolved into beautiful descriptions, if general propositions, after the intuitive judgments from which they have been formed have been omitted enthymematically, are nevertheless exhibited as experiences, not only are secondary axioms and postulates mixed with primary ones, but also many theorems and problems are taken after the fashion of indemonstrable things, or are proved by leaps logically illegitimate, although beautiful, by cryptic forms, about which the one to be convinced is not completely certain, meanwhile elegant and oratorical, if scholia rule, and absorb most of the place: what else will now come forth from such a meditation, even if it has a theme in the highest degree completely certain, except dogmatic verisimilitude? § 577.

§ 579

Si locus permitteret, uberius ex historia philosophica posset ostendi confusionem huius dogmata cogitandi generis et accurate logici ac intellectualis § 568. fontem esse, ex quo 1) philosophi et omnes paene reliqui eruditi tot per saecula soliditate et certitudine superati sint a mathematicis, quibus sua suis exponendo semper verum fuit intellectum et rationem praesertim instruere, non promittendo solum, sed et praestando. 2) Platonis, haec duo cogitandi genera semper combinantis, ne dicam confundentis, discipuli, in tantam lapsi sunt incertitudinem, exceptis Aristotelicis, quorum praeceptor acroamaticis suis scriptis ostendit, quantum intersit inter logice verum, et aesthetice verisimile, si philosophemur. 3) Aeternae dogmaticorum scepticorumque, et nunc his, nunc illis viciniorum, lites. § 9.

If space permitted, it could be shown more abundantly from philosophical history that the confusion of this dogmas kind of thinking and of the accurately logical and intellectual kind, § 568, is the source, from which 1) philosophers and almost all the remaining learned people, through so many centuries, have been surpassed in solidity and certainty by mathematicians, for whom, in setting forth their own things to their own people, it was always true especially to instruct understanding and reason, not only by promising, but also by performing. 2) The disciples of Plato, who was always combining these two kinds of thinking, not to say confusing them, fell into so great an uncertainty, the Aristotelians excepted, whose teacher in his acroamatic writings showed, how much difference there is between the logically true and the aesthetically verisimilar, if we philosophize. 3) The eternal quarrels of dogmatists and skeptics, and of those now nearer to these, now nearer to those. § 9.

§ 580

Studium veritatis aestheticum absolutum § XXXIIII. se comparative exseret in summo suo gradu perfectionis etiam materialis maxime curiosum in genere cogitandi aesthetico historico, § 466, cuius 1) genus maxime ordinarium est, res facti, singularia praeterita, describens, 2) non negligendum, aesthetico statum animi praesentem exprimens, 3) non ita crebro, saepius tamen, ac videtur, observandum futura praevidens.

The absolute aesthetic study of truth, Section XXXIV, will exert itself comparatively in its highest degree of perfection, even material perfection, as most curious in the aesthetico-historical kind of thinking, § 466, of which 1) the most ordinary kind is the one describing matters of fact, past singulars, 2) a not-to-be-neglected one, aesthetically expressing the present state of the mind, 3) a not so frequent one, yet more often to be observed than it seems, foreseeing future things.

Medium, si dicas empiricum, tertium manticum cogitandi genus: genus cogitandi aestheticohistoricum erit vel strictius historicum, vel empiricum, vel manticum.

If you call the middle kind of thinking empirical, the third mantic: the aestheticohistorical kind of thinking will be either more strictly historical, or empirical, or mantic.

§ 581

Exempla primi sunt generis eleganter cogitandi, de quo § 580, clari scriptores, quibus veteris populi Romani prospera vel adversa memorata sunt, secundi tum epistolae non ita paucae, quas Cicero, et Plinius de rebus ad se pertinentibus tunc, quum eae fierent, perscripserunt, tum carmina inter amandum dolendumve scripta de amore vel tristitia,

Examples of the first kind of elegant thinking, concerning which see § 580, are the famous writers by whom the prosperous or adverse affairs of the ancient Roman people have been recorded, of the second kind, then, are not a few letters which Cicero and Pliny wrote in detail about matters concerning themselves at the time when those things were happening, and also poems written amid loving or grieving, about love or sadness,

Sourced quotation · Ovid [583]

Verba miser frustra nil proficientia perdo, Ipsa graves spargunt ora loquentis aquae. Scilicet occidimus, nec spes, nisi vana, salutis, Dumque loquor, vultus obruit unda meos. Hei mihi, quam celeri micuerunt nubila flamma? Quantus ab aetherio personat axe fragor!

But, wretch that I am, to no purpose am I wasting profitless words. My very lips as I speak are sprayed by the heavy waves. [...] We are surely lost, there is no hope of safety, and as I speak, the waters overwhelm my face. [...] Alas! what a swift flash of fire from the clouds! What a mighty roar from the high vault of heaven!

e. c.

etc.

§ 582

Cogitandi genus aestheticomanticum nolim in solis vaticiniis veris fictisve quaeri, e. g. ecl. Virg. IIII. sed praestat illud intermixtum aliis observare, quoties in futura dirigendus ex praesentibus, vel praeteritis, vel omnino generalibus est, citra divinationem etiam omnem extraordinariam, animus. e. g.

I would not want the aestheticomantic kind of thinking to be sought only in true or fictive prophecies, for example Virgil's fourth eclogue. but it is better to observe it intermixed with other things, as often as the mind is to be directed toward future things from present things, or past things, or things wholly general, even without any extraordinary divination. For example:

Sourced quotation · Virgil [584]

Forsan et haec olim meminisse iuvabit. O passi graviora! deus dabit his quoque finem.

O, ye have borne
far heavier sorrow: Jove will make an end
also of this. [...] It well may be
some happier hour will find this memory fair.

Virg.

Virgil.

Sourced quotation · Horace [585]

Quo nos cunque feret melior fortuna parente, Ibimus. O! socii comitesque O! fortes peioraque passi Mecum saepe viri, nunc vino pellite curas, Cras ingens iterabimus aequor.

Where Fortune bears us, than my sire more kind,
There let us go, my own, my gallant crew. [...]
Hearts, that have borne with me
Worse buffets! drown today in wine your care;
To-morrow we recross the wide, wide sea!

Hor. I. od. 7.

Horace, Book I, Ode 7.

§ 583

Genus pulcre cogitandi strictius historicum, et in aestheticis tam empiricum, quam manticum, differunt 1) a logica et critica severiori cura historici, saltim bene praeliminari, qua per memoriam et iudicium intellectuale, multumque rationis usum suam sibi materiem ex magna traditionum, rumorum, famae, calumniarum, fictionum, fabularum e. c. farragine seligit, ante, quam eleganti, quae placuerunt, contexat iucundae narrationis tela, 2) a logica experimentatorum et observatorum veri nominis inter philosophos sollicitudine, qua rem sensam iudiciis intuitivis et experientiis stricte dictis ita sistunt intellectui, ut vitium subreptionis pro virili caveatur, et enthymematice omissae maiores, opiniones praeconceptae: 2) a logica et rationali providentia, qua politicus e. g. futurum suae reipublicae statum, quasi ex aliqua specula, metitur.

The more strictly historical kind of thinking beautifully, and in aesthetic matters both the empirical and the mantic kind, differ 1) from the more severe logical and critical care of the historian, at least when it has been well preliminarily prepared, by which, through memory and intellectual judgment, and much use of reason, he selects for himself his material from the great jumble of traditions, rumors, report, slanders, fictions, fables, and so on, before he weaves the things that have pleased him into the elegant webs of agreeable narration, 2) from the logical solicitude of experimenters and observers truly so called among philosophers, by which they so present the sensed thing to the understanding through intuitive judgments and experiences strictly so called, so that, so far as possible, the fault of surreption is guarded against, as are major premises omitted enthymematically and preconceived opinions: 2) from the logical and rational foresight by which, for example, the statesman measures the future condition of his republic, as if from some watchtower.

§ 584

Studium hoc veri in aestheticohistoricis, quoniam maximam partem inferioribus animi facultatibus exercetur, § 583, non fictionibus solum latius dictis, § 505, indiget, sed in meditationibus etiam paululum extendendis interferet complete certo a se cognitis, ut strictissime vera, tum generalia minus certa, tum singularia, quae num vere sint huius universi possibilia, complete convictum non est. § 507. Hinc neque hoc veri studium assurget ultra verisimilitudinem, § 483, neque tamen qualemcunque sataget attingere, sed sicut in interspersis suis generalibus dogmaticam, § 577, amplectetur, sic in ideis strictissime dictam, § 530, ne strictius quidem dictas fictiones historicas omnes refugientem, § 509, tamen et in his aversam ab omnibus, quae falsitatis moralis, levis partium studii, credulitatisve iure possent accusari, et poeticarum omnium fictionum, et utopiam et mundos, praeter hunc, optimos, quoties historica fide suas cogitationes obligat. § 566.

This study of truth in aestheticohistorical matters, since for the greatest part it is exercised by the lower faculties of the soul, § 583, needs not only fictions more broadly so called, § 505, but in meditations even to be extended a little it will also insert among things known by it with complete certainty as true in the strictest sense, both general things less certain, and singular things concerning which it has not been completely convinced whether they are truly possible in this universe. § 507. Hence this study of truth will not rise beyond verisimilitude, § 483, and yet it will not strive to attain just any sort whatever, but just as in its interspersed general things it will embrace dogmatic verisimilitude, § 577, so in ideas it will embrace verisimilitude most strictly so called, § 530, not even fleeing all historical fictions more strictly so called, § 509, yet even in these averse from all things that could rightly be accused of moral falsity, slight party-zeal, or credulity, and all poetic fictions, and utopia and worlds, besides this one, the best, whenever it binds its thoughts by historical faith. § 566.

§ 585

Sectio XXXVI. Studium veri poeticum.

Section XXXVI. The poetic study of truth.

Aestheticum veri studium absolutum, § XXXIIII, in aliis iam indicatis rationibus potest moveri ad genus cogitandi poeticum, § 566, quando 1) venustae plenitudini requisitorum non satis historia porrigit, et aperte mavult vir bonus hinc mentiri copiam pulcriorem excogitans, quam callide fidem historicam corrumpere. 2) Quando plus dignitatis, vel etiam maiestatis dabunt, ficta exempla heterocosmica, quam historica, semper aliquid humani passa, quod supprimere saepe permittit ne strictissime quidem dicta verisimilitudo, § 584. 3) Quando moralis plus veritatis, characterum, loci, temporis maior unitas sperari potest, et observabilior ac, ut ita dicam, contractior nexus, ex heterocosmicis, quam ex rebus in hoc universo propter rationes superiores distractioribus, aut propter imbecillitatem humanam inconstantioribus. 4) Quando ob anticipationes suorum potiorum in spectatoribus sperare potest notius ipsis heterocosmicum fore, quam eventum huius mundi, sed in parte eiusdem his admodum incognita situm.

The absolute aesthetic study of truth, Section XXXIV, in other already indicated respects can be moved toward the poetic kind of thinking, § 566, when 1) history does not provide enough for the graceful fullness of requisites, and the good man openly prefers from this point to lie, devising a more beautiful abundance, rather than cunningly corrupt historical faith. 2) When fictive heterocosmic examples will give more dignity, or even majesty, than historical ones, which always have suffered something human, which not even verisimilitude in the strictest sense often permits to be suppressed, § 584. 3) When more moral truth, a greater unity of characters, place, and time can be hoped for, and a more observable and, so to speak, more contracted connection from heterocosmic things, than from things in this universe, more scattered on account of higher reasons, or more inconstant on account of human weakness. 4) When on account of anticipations of his more important things in the spectators he can hope that the heterocosmic will be better known to them, than an event of this world, but one situated in a part of the same quite unknown to them.

Sunt in mundo fabularum milesiarum, aut fabellarum aesopicarum satis versati multi hospites in historicis. 5) Quando fictionibus faciliorem fidem sperat, quam strictissime veris.

Many who are guests in historical matters are sufficiently versed in the world of Milesian tales or Aesopic little fables. 5) When he hopes for easier belief for fictions than for things true in the strictest sense.

Hoc non ita raro posse sperari fidem invenies apud eos, qui noverint, quoties, quot hominibus opus sit dicere: non putaram, 6) quando veritas strictissime dicta praevidetur alia omnia, quam eam habitura vitam, quae potissimum intenditur. § 561.

You will find that this faith can be hoped for not so rarely among those who have known how often, to how many people, it is necessary to say: I had not thought it, 6) when truth in the strictest sense is foreseen to be going to have any life other than that which is chiefly intended. § 561.

§ 586

Quod si studium veri absolutum impulerit pulcre cogitaturum ad heterocosmica fingenda, § 585, iam transmutatur in studium verisimilitudinis poeticae, § 530, quae tantum abest, ut eadem sit cum verisimilitudine historica, et strictissime dicta, ut, si ad alterutram, vel dogmaticam, § 577, vel strictissime dictam eam referre necessarium esset, eikos poetarum ad dogmaticam potius referrem, favente satis Aristotele, qui historicum iubet, quae facta sunt, poetam, qualia fieri debent, referre, et inde poesin meliorem et magis philosophicam laudat, quam historiam, quia magis universalia dicat, historia autem singularia.

But if the absolute study of truth has driven the one who is going to think beautifully toward inventing heterocosmic things, § 585, it is now transformed into the study of poetic verisimilitude, § 530, which is so far from being the same as historical verisimilitude, and verisimilitude in the strictest sense, so that, if it were necessary to refer it to either one, either dogmatic verisimilitude, § 577, or verisimilitude in the strictest sense, I would refer the eikos of poets rather to dogmatic verisimilitude, with Aristotle sufficiently favoring this, who orders the historian to report the things that have happened, the poet the sort of things that ought to happen, and from this he praises poetry as better and more philosophical than history, because it speaks more universal things, while history speaks singular things.

Universale enim esse, contingit talem talia dicere aut facere, secundum necessarium aut verisimile, singulare autem, quid Alcibiades fecerit, aut passus sit.

For the universal is that it happens that such a person says or does such things, according to the necessary or the verisimilar, but the singular concerns what Alcibiades did, or suffered.

§ 587

Falluntur hinc critici quidam minus instructi verisimilitudinem poeticam ad historicae leges examinantes, quando poetam i. e. nunc fingentem heterocosmica statim condemnant peccati in verisimilitudinem, quando tunc et ibi fingit aliquem occidi, quando et ubi vixisse eundem adhuc historice vel verisimile, vel omnino certum sit, nullis ulterius auditis rei exceptionibus.

Hence certain less instructed critics are deceived, examining poetic verisimilitude according to the laws of historical verisimilitude, when they immediately condemn a poet, that is, one now inventing heterocosmic things, for a sin against verisimilitude, when he invents that someone is killed then and there, although historically it is either verisimilar, or altogether certain, that the same person was still living then and there, with no further exceptions of the matter having been heard.

Falluntur auctores, qui vere novum mundum creantes de materiis etiam gravioribus in solis tamen fictionibus historicis subsistunt, et tunc rem suam optime se gessisse putant, quando bonum aliquem hominem eo induxerunt, ut nihil fraudis subesse cogitationibus senserit, habens, quicquid illi fingunt, pro strictissime veris, et anecdotis forsitan auro quovis carioribus.

Authors also are deceived who, while truly creating a new world, nevertheless in even weightier materials remain within merely historical fictions, and then think that they have carried out their business in the best way, when they have led some good man to this point, that he senses no fraud lying beneath their thoughts, holding whatever they invent as things true in the strictest sense, and perhaps as anecdotes dearer than any gold.

Hoc artificium videtur habere falsitatis aliquid per indirectum etiam aestheticae. § 464.

This artifice seems to have something of falsity, by indirection, even aesthetic falsity. § 464.

§ 588

Nec ponenda praesertim est verisimilitudo poetica in probabilitate, vel logica et disciplinari, vel historica et strictissime dicta illius hypotheseos, sub qua venustae cognitionis mediae obiecta, per fictionem poeticam fieri forte potuissent etiam in hoc universo, quaeque novi mundi quasi basis et fundamentum est. § 511. Nec est analogi rationis ordinario primas universi causas, elementa et stamina prima penitius examinare, dum haeret in effectis phaenomenis.

Nor especially is poetic verisimilitude to be placed in probability, either logical and disciplinary, or historical and strictly so called, of that hypothesis under which the objects of graceful middle cognition perhaps could have come to be, through poetic fiction, even in this universe, and which is, as it were, the base and foundation of the new world. § 511. Nor does it belong to the ordinary analogue of reason to examine more deeply the first causes of the universe, its elements, and its first threads, while it clings to effects and phenomena.

Quando vero figmentum analogicum omnino talia illi ponit ob oculos, § 516, quorum iam habet intra se quasdam anticipationes ex dudum sibi cognito mundo poetarum, § 573, hypothesin qualemcunque, lemmatis instar, arripit, per eandem, velut notum aliquem pontem, in novum tuum mundum salire paratum habet, nec veretur:

But when an analogical figment altogether places such things before its eyes, § 516, of which it already has within itself certain anticipations from the world of poets long since known to it, § 573, it seizes whatever hypothesis there is, after the fashion of a lemma, through the same, as through some known bridge, it is prepared to leap into your new world, nor does it fear:

Sourced quotation · Catullus [586]

Crura ponticuli, axulis stantis, in redivivis Ne supinus eat, cavaque in palude recumbat.

Logs of the Bridgelet propt on pier-piles newly renewed,
Lest supine all sink deep-merged in the marish's hollow,

Cat.

Catullus.

§ 589

Quum genus cogitandi poeticum § 580 non sit, nisi venusta quaedam, saltim non inelegans, exceptio, § 585. 25. omnis eiusdem verisimilitudo in eo consistit, ut vel rationis etiam analogo pateat, esse, quae salva totius pulcritudine potuit, minima, vel certe ne pateat eidem contrarium, ne quid citra necessitatem aestheticam, §§ 491–503, 565, fictum vere dici posse videatur. Primam dicere verisimilitudinem liceat poeticam positivam, negativam alteram.

Since the poetic kind of thinking, § 580, is nothing except a certain graceful, or at least not inelegant, exception, § 585. 25., all its verisimilitude consists in this, that either even to the analogue of reason it is evident that what could have been while preserving the beauty of the whole is minimal, or certainly that the contrary is not evident to the same, so that nothing seems able truly to be said to have been invented short of aesthetic necessity, §§ 491–503, 565. It is permitted to call the first positive poetic verisimilitude, the other negative.

§ 590

Prima ergo quaestio foret in diiudicanda generis cogitationum poetici verisimilitudine, an omnino illud eligere fuerit aesthetice necessarium, an forsan etiam analogo rationis belle instructo pateat contrarium.

Therefore the first question in judging the verisimilitude of the poetic kind of thoughts would be, whether it was altogether aesthetically necessary to choose it, or whether perhaps the contrary is evident even to a well-instructed analogue of reason.

Sic Quintilianus historicis Graecis recte tunc obiicit poeticam licentiam, quoties poetice quantumcunque verisimilia suis immiscent, quoniam his per historias omnino locus non est, § 584. Hanc verisimilitudinem, ut ita dicam, externam et respectivam ad conditionem auctoris et dignitatem operis aut totius, cui immiscendum est poetice verisimile, et dispositiones praecipuorum, quibus placere velis, spectatorum; plerumque supponimus ex definitione restrictioris cogitandi generis, quod aliquis semel elegit, postulati instar, hypothetice deducendam.

Thus Quintilian rightly then objects poetic license to the Greek historians, as often as they mix things poetically verisimilar, however much so, into their own materials, because for these things there is altogether no place within histories, § 584. This verisimilitude, so to speak external and relative to the condition of the author and to the dignity of the work or of the whole into which the poetically verisimilar thing must be mixed, and to the dispositions of the principal spectators whom you wish to please; we for the most part suppose from the definition of the more restricted kind of thinking, which someone has once chosen, to be deduced hypothetically, after the fashion of a postulate.

§ 591

Epopoeiam decent fabulae theologicae et heroicae, fictas fabellas genus cogitandi poeticum, et hinc peculiaris verisimilitudo. e. c. Haec patent axiomatice.

Theological and heroic fables befit epic poetry; invented little fables befit the poetic kind of thinking, and hence a peculiar verisimilitude, etc. These things are axiomatically evident.

Vnde postulata: Epopoeus, Aesopus e. c. esse qui velit, hanc quaerat verisimilitudinem.

Hence the postulates: whoever wishes to be an epic poet, an Aesop, etc., let him seek this verisimilitude.

Vlterius ipsius meditationis diiudicatio vix adscendet aesthetica.

A further judging of the meditation itself will scarcely ascend to aesthetics.

An auctor bene, sapienter, et se suisque sperandis praesertim auditoribus convenienter decreverit epopoeus, Aesopus e. c. aliquis fieri, verisimilitudinem et hinc pulcritudinem meditationis internam directo non tangit.

Whether the author has well, wisely, and suitably for himself and especially for his hoped-for hearers decided to become some epic poet, Aesop, etc., does not directly touch the verisimilitude and hence the internal beauty of the meditation.

§ 592

Secunda quaestio erit: An novus ille mundus, in quem poeta, sive prosaicus scriptor, sive metricus, sive pictor, sive sculptor, e. c. fuerit, nos introducturus est, sit ex ipsius intentionibus eleganter exsequendis mundus, post hunc, optimus? immo an thema possit in eodem vere perfectius elegantiusque sisti iucundo cuidam vigilantium somnio, ac in hoc illud mundo cogitari potuisset? an in his solis momentis ad finem venustum facientibus mundus novus a nostro differat, an etiam frustra ponantur in eodem multa alia et diversa?

The second question will be: whether that new world, into which the poet, whether he be a prose writer, a metrical one, a painter, a sculptor, etc., is going to introduce us, is, with his own intentions elegantly to be executed, the best world after this one. indeed, whether the theme could in that world truly be set forth more perfectly and more elegantly to a certain pleasant dream of those awake, than that could have been thought in this world? whether the new world differs from ours only in those moments that make for a graceful end, or whether many other and different things are also placed in it in vain?

Ovidius optimum aliquem maximum poetarum mundum descripturus in suis metamorphoseon: tamen aliquam vult observare cum hoc universo conspirantem chronologiam:

Ovid, about to describe some best, greatest world of poets in his Metamorphoses: nevertheless wishes to observe some chronology harmonizing with this universe:

Sourced quotation · Ovid [587]

primaque ab origine mundi / Ad sua perpetuum deducere tempora carmen.

Oh lead my song
in smooth and measured strains, from olden days
when earth began to this completed time!

§ 593

Poetice ficturus, quantum ullus unquam poeta mentiri potuit, orditur tamen ab istis historiis; quas non pauci dogmatice veras omnino, plerasque omnes verisimiles concessant, iisque primum non nisi fictiones intexuerit, quas historicarum limites transgredi vel nemo, vel certe potissimum attendendi eius lectores hariolari non poterant.

About to invent poetically, as much as any poet ever could lie, he nevertheless begins from those histories which not a few concede to be wholly true dogmatically, and nearly all the rest verisimilar, and into them at first he has woven only fictions which either no one, or certainly his readers especially to be attended to, could divine as passing beyond historical limits.

En! tibi primum Chaos. v. 5–20.

Look! first, Chaos for you, verses 5–20.

Sourced quotation · Ovid [588]

Hanc deus et melior litem natura diremit.

But God, or kindly Nature, ended strife–

Iamque separantur ignis, aqua, terra, aer,

And now fire, water, earth, air are separated,

Sourced quotation · Ovid [589]

qui, quanto est pondere terrae / Pondus aquae levius, tanto est onerosior igni.

and over all the atmosphere suspends
with weight proportioned to the fiery sky,
exactly as the weight of earth compares
with weight of water.

53. An ergo gravitatem aeris antlia demum invenit?

53. Did the air-pump, then, only at last discover the gravity of air?

Interim omnia fiunt, usque ad animalia. 75.

Meanwhile all things are made, up to the animals. 75.

Sourced quotation · Ovid [590]

Sanctius his animal, mentisque capacius altae, / Deerat adhuc, et quod dominari in caetera posset. Natus homo est. Sive hunc divino semine fecit / Ille opifex rerum, mundi melioris origo, / Sive recens tellus / fuit, quam Prometheus / Finxit in effigiem moderantum cuncta deorum. Aurea prima sata est aetas, quae vindice nullo, / Sponte sua sine lege fidem rectumque colebat.

But one more perfect and more sanctified,
a being capable of lofty thought,
intelligent to rule, was wanting still–
man was created! Did the Unknown God
designing then a better world make man
of seed divine? or did Prometheus
take the new soil of earth (that still contained
some godly element of Heaven's Life)
and use it to create the race of man;
first mingling it with water of new streams;
so that his new creation, upright man,
was made in image of commanding Gods? [...]
First was the Golden Age. Then rectitude
spontaneous in the heart prevailed, and faith.
Avengers were not seen, for laws unframed
were all unknown and needless.

99.

99.

Sourced quotation · Ovid [591]

Protinus irrumpit venae peioris in aevum, / Omne nefas, fugere Pudor Verumque, Fidesque, / In quorum subiire locum Fraudesque, Dolique / Insidiaeque et Vis et Amor sceleratus habendi.

from which malignant vein great evil sprung;
and modesty and faith and truth took flight,
and in their stead deceits and snares and frauds
and violence and wicked love of gain,
succeeded.

130.

130.

Sourced quotation · Ovid [592]

In facinus iurasse putes. Dent ocius omnes, / Quas meruere pati, sic stat sententia, poenas.

all men conspire
in evil. Let them therefore feel the weight
of dreadful penalties so justly earned,
for such hath my unchanging will ordained.

243.

243.

Sourced quotation · Ovid [593]

Est tamen humani generis iactura dolori.

but all deplored
and questioned the estate of earth deprived
of mortals.

246.

246.

Sourced quotation · Ovid [594]

Rex superum trepidare vetat, sobolemque priori / Dissimilem populo promittit origine mira.

Such idle questions of the state of man
the King of Gods forbade, but granted soon
to people earth with race miraculous,
unlike the first.

252.

252.

Sourced quotation · Ovid [595]

Iamque mare et tellus nullum discrimen habebant / Omnia pontus erant, deerant quoque littora ponto,

And now one vast expanse,
the land and sea were mingled in the waste
of endless waves–a sea without a shore.

292. Iamque satis sibi strictissime veri verisimilisque historici propinasse vates videtur, ut imprudentes sensim ex hoc omnino universo rapti, quasi per somnium, in eum mundum deferantur, ubi homines ex saxis, ex Daphne laurus, ex Ione iuvenca, ex iuvenca Io, et si qua sunt alia, quae speciosa dehinc miracula promitt.

292. And now the bard seems to himself to have offered enough of the historically true and of verisimilitude in the strictest sense, so that the unwary, gradually snatched from this universe altogether, as if through a dream, are carried over into that world where humans come from stones, a laurel from Daphne, a heifer from Io, Io from a heifer, and whatever other things there are, which henceforth promise splendid marvels.

§ 594

This heading is absent from the inherited source. The edition proceeds from §593 to §595.

§ 595

Hae quaestiones § 590. 592. non sunt solae, nec primariae, § 585. 588. Sit necessarium heterocosmica ponere, sit eorum non maior, ac necessaria, differentia, ab hoc universo.

These questions, § 590, 592, are not the only ones, nor the primary ones, § 585, 588. Let it be necessary to posit heterocosmic things; let their difference from this universe be not greater than necessary.

Iam tertium quaeritur: An ex omni mundo poetarum et eius regionibus uberioribus, dignioribus, verisimilioribus, notioribus, e. c. § 22. novam tuam potius desumpseris fictionem, quam ut in ignotas fabularum ambages, sine necessitate aesthetica, tuos induxeris hospites?

Now a third thing is asked: whether from the whole world of poets and from its richer, worthier, more verisimilar, better known regions, etc., § 22, you have rather taken your new fiction, than led your guests into unknown windings of fables without aesthetic necessity?

An hoc contrarium perfectioni possit etiam ab analogo rationis deprehendi? § 513, 516. Habes iteratum Horatii praeceptum:

Can this contrary to perfection also be detected by the analogue of reason? §§ 513, 516. You have the repeated precept of Horace:

Sourced quotation · Horace [597]

Ex noto fictum carmen sequar.

I would so execute a fiction taken from a well-known story, that any body might entertain hopes of doing the same thing; but, on trial, should sweat and labor in vain.

Fictionis poetica verisimilitudo praesertim postulat, ut mundo poetarum in iis, in quibus recedit ab hoc universo, sit adeo similis et consentanea, ac illud pulcritudo totius permittit, quod cogitas, § 484.

The verisimilitude of poetic fiction especially demands, that, in those things in which it withdraws from this universe, to the world of poets, the thing you are thinking should be so similar and harmonious as the beauty of the whole permits, § 484.

§ 596

Hinc necessitas studii mythologici non illius graeci romanique tantum, sed omnium temporum et locorum, quorum fama, cabbala, traditiones dare poterunt regionem mundi poetici alicui cogitanti certorum in gratiam de certo themate praesertim commendabilem, § 594. Nec obiicias dissensus veterum in ipso hoc mundo poetarum, si chaos eius primitivum a derivativo sensim illico mundo ac decore distinguas, tecumque cogites difficultatem, in qua non ita longe tempore inter se distantes poetae quondam versabantur, notum sibi reddendi vix ante se natum locupletatumve mundum poeticum, quae nunc omnis paene disparuit.

Hence the necessity of mythological study, not only that Greek and Roman study, but of all times and places whose report, cabbala, and traditions will be able to give a region of the poetic world especially commendable to someone thinking about a definite theme for the sake of definite persons, § 594. Nor should you object the disagreements of the ancients within this very world of poets, if you distinguish its primitive chaos from the derivative world and beauty that gradually emerged from it, and think with yourself of the difficulty in which poets once found themselves when they were not so far distant from one another in time, that of making known to themselves a poetic world scarcely born or enriched before them, which difficulty has now almost entirely disappeared.

Probe perpendendum est argumentum Ovidii probans, quando iam in heterocosmica mergitur altius:

The proving argument of Ovid is to be weighed carefully, when he now plunges more deeply into heterocosmic things:

Sourced quotation · Ovid [598]

Quis hoc credat, nisi sit pro teste vetustas?

It is much beyond belief,
were not receding ages witness,

Met. I, 400. Cui consentit illud Virgilii de navibus in nymphas mutatis:

Metamorphoses I, 400. With which agrees that saying of Virgil about the ships changed into nymphs:

Sourced quotation · Virgil [599]

Prisca fides facto, sed fama perennis.

From hoary eld the tale, but its renown
sings on forever.

§ 597

Quartum quaeritur: An poetice fingens mundi poetici utopiam tetigerit ingressusque sit, ultra § 456, limites, et ita quidem, ut deprehendi possit in bidentali per ipsum analogon rationis, an omnino tristes eiusmodi campos vitris fractis merorumque somniorum interpretamentis auxerit? § 574. Multo venustius princeps Gallorum epicus vates eremitam fatidicum, fanaticismi daemonem, Ludovicum sanctum ducem Henrici magni per caelos et inferos fingit, ac si deos maiorum minorumque gentium ex utopicis graecorum vel romanorum intermundiis revocasset.

Fourth it is asked: whether the one inventing poetically has touched and entered the utopia of the poetic world, beyond the limits of § 456, and that in such a way that he can be detected in a bidental by the analogue of reason itself, or whether he has altogether enlarged such gloomy fields with broken glasses and interpretations of mere dreams? § 574. Much more gracefully the chief epic bard of the French invents a prophetic hermit, the demon of fanaticism, and St. Louis as guide of Henry the Great through heavens and hells, than if he had recalled the gods of the greater and lesser nations from the utopian interworlds of the Greeks or Romans.

§ 598

Quinta sit quaestio: An poeta non ea coniunxerit, quae seorsim quidem sic se bene satis habere, qua possibilitatem aesthetice perspiciendam, possent, sint tamen in unum conflata incompossibilia?

Let the fifth question be: whether the poet has not joined those things which separately indeed could be well enough constituted, with respect to a possibility to be aesthetically perceived, yet when fused into one are incompossible?

Hoc tribus potissimum contingere posset rationibus, 1) si regiones mundi poetici per aeternas inimicitias seiunctae confunderentur, cuius casus exemplum est, § 515. Mundus enim poetarum habet suas insulas et peninsulas, neque vatum

This could happen chiefly in three ways, First, if regions of the poetic world separated by eternal enmities were confused, an example of which case is at § 515. For the world of poets has its islands and peninsulas.

Sourced quotation · Horace [600]

Nequicquam deus abscidit / Prudens Oceano dissociabiles / Terras Quibus interiecta vada non bene transiliuntur,

Heaven's high providence in vain
Has sever'd countries with the estranging main,
If our vessels ne'ertheless
With reckless plunge that sacred bar transgress.

2) si mundo poetarum affingitur aliquid, quod in se nihil implicat contradictionis aestheticae, sumtae tamen iam semel mundi poetici portioni sic repugnaret, ut fieret figmentum anomalon sine necessitate, § 520.

Second, if something is attached to the world of poets which in itself implies nothing of aesthetic contradiction, but would so conflict with a portion of the poetic world once already taken up, that it would become an anomalous figment without necessity, § 520.

§ 599

3) Si semel transgressis in heterocosmica nobis talia huius universi phaenomena et ea strictissime vera denuo non opinantibus exponerentur, quibus, quoniam stare cum mundo ficto non possunt, velut expergefacti ex somnio vigilantium spontaneo cogeremur forsan subinviti tunc, quando nondum tempus est, agnoscere ficta esse, et quidem strictius, omnia, quae, tanquam praesentia, praestigiis poetae lubenter cedentes ad aulea usque volebamus intueri.

Third, if, once we have crossed over into heterocosmic things, such phenomena of this universe and these strictly true things were again set forth to us when we were not expecting them, by which, since they cannot stand together with the fictive world, as if awakened from the spontaneous dream of those awake, we would perhaps be compelled, somewhat unwillingly, then when it is not yet time, to recognize that all the things are fictions, and indeed more strictly so, which, as if present, willingly yielding to the poet's enchantments, we wanted to gaze upon all the way to the curtains.

Ob hoc vitium vitandum Aristoteles satis lepide poetam excusatione dignum iudicavit, si facta pangat, et strictissime vera scribat, quam tamen ipsi non concedit, nisi quando et in quantum sint verisimilia, quod hic interpretor in omni suo ambitu, ut habeant etiam verisimilitudinem poeticam, ut in novo illo mundo, quem fingimus, aeque locum habeant, ac in hoc.

For avoiding this fault Aristotle rather wittily judged the poet worthy of excuse, if he composes facts and writes things true in the strictest sense, which nevertheless he does not grant to him except when and insofar as they are verisimilar, which here I interpret in its whole range, so that they also have poetic verisimilitude, so that in that new world which we invent they have a place equally as in this one.

Tunc enim, ut illius, non ut huius portiones spectatae spontaneum voluptatis caussa somnium temere non interrumpent.

For then, regarded as portions of that world, not of this one, they will not rashly interrupt the spontaneous dream for the sake of pleasure.

§ 600

Sextum quaeritur: An poeta mundum, praeter hunc, optimum suis finibus legens, § 591, figmentum suum bene analogicum, § 516, 595. conformaverit mundi poetici inter portiones insociabiles, § 598. illi potissimum parti ac regioni, quae iisdem poetae finibus est optima?

Sixth it is asked: whether the poet, choosing the best world besides this one for his own ends, § 591, has suitably conformed his well-analogical figment, §§ 516, 595, among the unsociable portions of the poetic world, § 598, especially to that part and region which is best for the same ends of the poet? Nearly all religions have some part of their own in the world of poets.

Habent omnes paene religiones aliquam suam partem in mundo poetarum. Quaevis paene rerum publicarum historia, si surgere velis in prima ditionum tempora, fictionum et incertae satis famae caput inter nubila condit.

Almost any history of commonwealths, if you wish to rise into the first times of dominions, of fictions and sufficiently uncertain fame hides its head among the clouds.

Hinc utique peccaret in verisimilitudinem, etiam poeticam, qui Turcae e. g. mysteria veterum aegyptiorum affingeret, et Sinensibus Gothorum mythologias.

Hence he would certainly sin against verisimilitude, even poetic verisimilitude, who, for example, would attach the mysteries of the ancient Egyptians to a Turk, and the mythologies of the Goths to the Chinese.

Illi autem non peccarent, qui Christiani de Christiano Christianorum gratia nonnihil fingentes semper et ubique mundum superstitionum graecorum et romanorum habitant?

But would those not sin, who, Christians inventing something about a Christian for the sake of Christians, always and everywhere inhabit the world of Greek and Roman superstitions?

Miltoni mundus est verisimilior.

Milton's world is more verisimilar.

Sources and textual notes

[582] Juvenal, Satires 1.170-171. Rev. Lewis Evans, The Satires of Juvenal, Persius, Sulpicia, and Lucilius (New York: Harper & Brothers, 1881), Project Gutenberg text. Source 1

Baumgarten begins after Juvenal's governing experiar (“I will try”), which Evans necessarily retains to make the English sentence complete. Juvenal means that he will satirize only the safely dead, whose roadside tombs cannot retaliate; Evans's note identifies Domitian and the mime Paris as possible pointed examples.

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[583] Ovid, Tristia 1.2.13-14, 33-34, and 45-46. Arthur Leslie Wheeler, Ovid: Tristia, Ex Ponto (Loeb Classical Library; London: William Heinemann; New York: G. P. Putnam's Sons, 1924), Loebolus scan. Source 1

Baumgarten joins three couplets, omitting lines 15-32 and 35-44. He prints nil for Wheeler's source text's non, nec spes, nisi vana, salutis for nec spes est ulla salutis, and Hei for ei, besides changing punctuation and capitalization. Wheeler consequently says “no hope” rather than translating Baumgarten's variant as a “vain” hope.

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[584] Virgil, Aeneid 1.203 and 1.199-200, in that reversed order. Theodore C. Williams, The Aeneid of Virgil (Boston: Houghton Mifflin, 1910), Perseus Digital Library text. Source 1

Baumgarten moves line 203 before lines 199-200, omits the intervening account of Scylla and the Cyclops, and changes dabit deus to deus dabit. Williams identifies Virgil's generic deus as Jove and freely renders remembrance becoming pleasing as a “happier hour” finding the memory fair.

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[585] Horace, Odes 1.7.25-26 and 30-32. John Conington, The Odes and Carmen Saeculare of Horace (London: George Bell and Sons, 1882), Perseus Digital Library text. Source 1

Baumgarten separates cumque as cunque, heavily repunctuates the vocatives, and omits lines 27-29, in which Teucer invokes his own leadership, Apollo's promise, and a new Salamis. Conington's “my sire” supplies the first-person relation implicit in comparative parente.

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[586] Catullus, Carmina 17.3-4. Sir Richard Francis Burton, The Carmina of Gaius Valerius Catullus (London: printed for the translators, 1894), Perseus Digital Library text. Source 1

Baumgarten prints axulis for the comparison text's assulis and adds punctuation and capitalization. The bridge's “legs” are its timbers, which Burton distributes between “Logs” and “pier-piles”; his “marish” is an archaic word for marsh.

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[587] Ovid, Metamorphoses 1.3-4. Brookes More, The Metamorphoses of Ovid (Boston: Cornhill Publishing Co., 1922), Perseus Digital Library text. Source 1

Ovid asks the gods to lead his song “to my times” (ad mea ... deducite). Baumgarten changes possessive mea to third-person sua and imperative deducite to infinitive deducere so that the fragment fits his own syntax. More's published English necessarily retains Ovid's original first-person invocation.

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[588] Ovid, Metamorphoses 1.21. Brookes More, The Metamorphoses of Ovid (Boston: Cornhill Publishing Co., 1922), Perseus Digital Library text. Source 1

Baumgarten preserves Ovid's complete line. More interprets et disjunctively as “or,” a standard understanding of Ovid's alternative agents, and renders comparative melior as the morally favorable “kindly.”

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[589] Ovid, Metamorphoses 1.52-53. Brookes More, The Metamorphoses of Ovid (Boston: Cornhill Publishing Co., 1922), Perseus Digital Library text. Source 1

Ovid's subject is air, supplied by the omitted preceding sentence Inminet his aer. Baumgarten inserts nominative Pondus aquae and recasts source ablative pondere aquae, making the comparison less directly dependent on that antecedent. More restores the full context and describes air as heavier than fire in the same proportion that it is lighter than water and earth.

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[590] Ovid, Metamorphoses 1.76-83 and 1.89-90, with lines 80-82 compressed into Baumgarten's explicit reference to Prometheus. Brookes More, The Metamorphoses of Ovid (Boston: Cornhill Publishing Co., 1922), Perseus Digital Library text. Source 1

Baumgarten regularizes cetera to caetera, omits Ovid's three-line account of earth retaining heavenly seed, replaces periphrastic satus Iapeto (“the son of Iapetus”) with the name Prometheus, and adds fuit to recast the syntax. He then skips lines 84-88 on humanity's upright posture before joining the creation to the Golden Age. More names Prometheus in translating Ovid's periphrasis and is therefore unusually close to Baumgarten's adaptation.

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[591] Ovid, Metamorphoses 1.128-131. Brookes More, The Metamorphoses of Ovid (Boston: Cornhill Publishing Co., 1922), Perseus Digital Library text. Source 1

Baumgarten prints assimilated irrumpit for source inrupit and infinitive-looking subiire where the comparison text has perfect subiere, personifies the abstract nouns through capitalization, and repunctuates the sentence. More carries the preceding description of the Iron Age into “great evil sprung” and translates amor ... habendi as “love of gain.”

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[592] Ovid, Metamorphoses 1.242-243. Brookes More, The Metamorphoses of Ovid (Boston: Cornhill Publishing Co., 1922), Perseus Digital Library text. Source 1

Jupiter is resolving to destroy the criminal human race. Baumgarten turns Ovid's parenthetical sic stat sententia into a comma-delimited phrase and capitalizes the second line; More carries the subject of putes forward from the preceding Latin line as "all men."

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[593] Ovid, Metamorphoses 1.246, whose construction is completed by omnibus at the start of line 247. Brookes More, The Metamorphoses of Ovid (Boston: Cornhill Publishing Co., 1922), Perseus Digital Library text. Source 1

Baumgarten stops before omnibus, the dative that completes "the loss of the human race is a grief to all." More renders that complete construction as "all deplored" and continues into the gods' question about an earth emptied of mortals.

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[594] Ovid, Metamorphoses 1.251-252. Brookes More, The Metamorphoses of Ovid (Boston: Cornhill Publishing Co., 1922), Perseus Digital Library text. Source 1

Baumgarten omits the governing participle quaerentes in line 250 and prints the normalized spelling sobolem for Ovid's subolem. More expands the sense of Jupiter's forbidding the gods to fear into his forbidding their questions, while preserving the promise of a miraculous new race unlike the former one.

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[595] Ovid, Metamorphoses 1.291-292. Brookes More, The Metamorphoses of Ovid (Boston: Cornhill Publishing Co., 1922), Perseus Digital Library text. Source 1

This is Ovid's flood, in which sea and land lose every distinction. Baumgarten uses littora for source litora and weakens Ovid's colon and semicolon to lighter punctuation. More compresses omnia pontus erant and the shoreless sea into one image.

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[597] Horace, Ars poetica 240. Christopher Smart, The Works of Horace, ed. Theodore Alois Buckley (New York: Harper & Brothers, 1863), Project Gutenberg text. Source 1

Baumgarten isolates Horace's first clause and converts its future sequar into an apparently self-contained maxim. Smart translates the whole conditional comparison: familiar material can look easy to imitate but requires exceptional arrangement and combination.

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[598] Ovid, Metamorphoses 1.400. Brookes More, The Metamorphoses of Ovid (Boston: Cornhill Publishing Co., 1922), Perseus Digital Library text. Source 1

In Ovid the question interrupts the transformation of the stones cast by Deucalion and Pyrrha. Baumgarten extracts it exactly apart from capitalization and punctuation; More converts the direct question into a conditional parenthesis and renders vetustas as "receding ages."

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[599] Virgil, Aeneid 9.79. Theodore C. Williams, The Aeneid of Virgil (Boston: Houghton Mifflin, 1910), Perseus Digital Library text. Source 1

Virgil invokes the Muses before narrating the transformation of Aeneas's burning ships into sea nymphs. Baumgarten omits dicite ("tell me") and presents the line as a maxim. Williams renders the contrast between ancient belief in the deed and its perennial fame as an old "tale" whose renown continues to sing.

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[600] Horace, Odes 1.3.21-24. John Conington, The Odes and Carmen Saeculare of Horace (London: George Bell and Sons, 1882), Perseus Digital Library text. Source 1

Baumgarten changes Horace's singular oceano dissociabili ("with the estranging ocean") to plural dissociabiles terras and replaces the conditional clause about impious ships crossing forbidden waters with a relative clause about the intervening straits not properly being crossed. Conington translates Horace's original rather than Baumgarten's recasting.

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