§ 576
Genus cogitandi aestheticodogmaticum vel thema habet propius, quid agendum, vel omittendum sit, enuncians, vel minus. Hoc est theoreticum, illud practicum. Practicum denuo vel habet thema commendandum, paraeneticum, vel dissuadendum, elencticum. Quemadmodum Ciceronis et rhetorica et philosophica scripta sunt exempla generis cogitandi aestheticodogmatici, ita officia praesertim practici; Lucretius est exemplum cogitandi generis aestheticotheoretici. Saturae elenctici. In his Iuvenalis, quam omnino ficta promittat exempla, mavult experiri,
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. This is theoretical; that is practical. The practical kind again either has a theme to be recommended, paraenetic, or to be dissuaded from, elenctic. 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. Satires are examples of the elenctic kind. Among these, Juvenal, although he promises wholly fictive examples, prefers to test
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."
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
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."
Genus cogitandi aestheticodogmaticum vel thema
The aestheticodogmatic kind of thinking either has a theme
habet propius, quid agendum, vel
more nearly declaring what is to be done,
omittendum sit, enuncians, vel minus.
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,
The practical kind again either has a theme to be recommended,
paraeneticum, vel dissuadendum, elencticum.
paraenetic, or to be dissuaded from, elenctic.
Quemadmodum Ciceronis et rhetorica et philosophica
Just as both the rhetorical and philosophical writings of
scripta sunt exempla generis cogitandi
Cicero are examples of the aestheticodogmatic kind of thinking,
aestheticodogmatici, ita officia praesertim practici;
so the Offices especially are examples of the practical
Lucretius est exemplum cogitandi generis aestheticotheoretici.
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,
Among these, Juvenal, although he promises wholly fictive examples,
mavult experiri,
prefers to test
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."
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
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.
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.
Studium veritatis in aestheticodogmaticis cuiuscunque generis, § 576.
The study of truth in aestheticodogmatic matters of whatever kind, § 576,
7) si vel maxime complete certo cognoscenda
7) if it treats things to be known,
tractet, tamen
even in the highest degree, with complete certainty,
nunc non adscendet ultra verisimilitudinem
nevertheless it will not now ascend beyond a certain verisimilitude,
aliquam, quam dicemus dogmaticam, qua dogma
which we shall call dogmatic, by which a dogma
non quidem complete certum redditur,
is indeed not rendered completely certain, and
neque tamen ulla in eodem falsitas, repugnantia interna,
yet no falsity in the same, no internal repugnance,
vel contradictio cum complete
or contradiction with completely certain things,
certis,
or at least with things more certain
aut hoc saltim dogmate certioribus, nulla incohaerentia cum principiis,
than this dogma, no incoherence with the principles
unde deducendum foret,
from which it would have to be deduced, or
aut cum inde
with the consequences to be derived from it,
derivandis consectariis totalis, e.
a total incoherence, and so on. May
c. nec intellectu, nec ratione,
it be perceived neither by the understanding, nor
nec rationis analogo, quantae
by reason, nor by the analogue of reason,
hae facultates
to the degree that these faculties are to be
in praecipuis obiectis personalibus supponendae sunt, appercipiatur. § 483.
supposed in the principal personal objects. § 483.
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.
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.
Nam definitiones statim, quando non exasciantur
For definitions at once, when they are not hewn
ad logicae artis severas regulas, aut
to the severe rules of the logical art,
in descriptiones
or are again artfully resolved into beautiful descriptions,
iterum pulcras affabre resolvuntur, propositiones generales si enthymematice
if general propositions,
omissis iudiciis intuitivis, ex quibus
after the intuitive judgments from which they have been
formatae sunt, tamen exhibentur,
formed have been omitted enthymematically, are nevertheless exhibited
ut experientiae, non axiomata solum et
as experiences, not only are secondary axioms and
postulata secundaria miscentur primariis, sed et theoremata
postulates mixed with primary ones, but also many theorems
multa et problemata indemonstrabilium instar
and problems are taken after the fashion of indemonstrable things,
sumuntur, aut probantur saltibus logice illegitimis, etiamsi pulcris,
or are proved by leaps logically illegitimate, although beautiful,
formis crypticis, de quibus
by cryptic forms, about which the one to be
convincendus non sit complete certus, interim elegantibus et oratoriis,
convinced is not completely certain, meanwhile elegant and oratorical,
scholia si regnant, et plurimum absorbent loci:
if scholia rule, and absorb most of the place:
quid aliud ex tali meditatione,
what else will now come forth from such a meditation,
si vel maxime complete certum thema habeat,
even if it has a theme in
nunc prodibit, nisi dogmatica verisimilitudo? § 577.
the highest degree completely certain, except dogmatic verisimilitude? § 577.
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.
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.
Si locus permitteret, uberius
If space permitted, it could be shown more abundantly
ex historia philosophica posset ostendi confusionem huius
from philosophical history that the confusion of this
dogmata cogitandi generis et accurate
dogmas kind of thinking and of the accurately
logici ac intellectualis § 568. fontem esse,
logical and intellectual kind, § 568, is the source,
ex quo 1) philosophi et omnes paene reliqui eruditi tot
from which 1) philosophers and almost all the remaining learned people,
per saecula soliditate
through so many centuries, have been surpassed in solidity
et certitudine superati sint a mathematicis,
and certainty by mathematicians, for whom,
quibus sua suis exponendo semper
in setting forth their own things to their own people,
verum fuit intellectum et rationem praesertim instruere,
it was always true especially to instruct understanding and reason,
non promittendo solum, sed et praestando.
not only by promising, but also by performing.
2) Platonis, haec duo
2) The disciples of Plato, who was always combining
cogitandi genera semper combinantis,
these two kinds of thinking, not to
ne dicam confundentis, discipuli, in tantam lapsi sunt
say confusing them, fell into so great an uncertainty,
incertitudinem, exceptis Aristotelicis, quorum praeceptor acroamaticis suis
the Aristotelians excepted, whose teacher in his acroamatic writings showed,
scriptis ostendit, quantum intersit inter logice verum,
how much difference there is between the logically true
et aesthetice verisimile, si philosophemur.
and the aesthetically verisimilar, if we philosophize.
3) Aeternae dogmaticorum scepticorumque,
3) The eternal quarrels of dogmatists and skeptics,
et nunc his, nunc illis viciniorum, lites. § 9.
and of those now nearer to these, now nearer to those. § 9.
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. Medium, si dicas empiricum, tertium manticum cogitandi genus: genus cogitandi aestheticohistoricum erit vel strictius historicum, vel empiricum, vel manticum.
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. 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.
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.
Studium veritatis aestheticum absolutum § XXXIIII.
The absolute aesthetic study of truth, Section XXXIV,
se comparative exseret in summo suo gradu perfectionis
will exert itself comparatively in its highest degree of perfection,
etiam materialis maxime curiosum in genere cogitandi
even material perfection, as most curious in the aesthetico-historical kind of thinking,
aesthetico historico, § 466, cuius 1) genus maxime ordinarium est,
§ 466, of which 1) the most ordinary kind is
res facti, singularia praeterita,
the one describing matters of fact, past singulars,
describens, 2) non negligendum, aesthetico
2) a not-to-be-neglected one, aesthetically expressing the present
statum animi praesentem exprimens, 3) non ita
state of the mind, 3) a not so frequent one,
crebro, saepius tamen, ac videtur, observandum futura praevidens.
yet more often to be observed than it seems, foreseeing future things.
Medium, si dicas empiricum, tertium manticum cogitandi genus:
If you call the middle kind of thinking empirical, the third
genus cogitandi aestheticohistoricum erit vel
mantic: the aestheticohistorical kind of thinking will be
strictius historicum, vel empiricum, vel manticum.
either more strictly historical, or empirical, or mantic.
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,
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.
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,
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.
Exempla primi sunt generis eleganter cogitandi,
Examples of the first kind of elegant thinking,
de quo § 580, clari scriptores,
concerning which see § 580, are the famous
quibus veteris populi Romani prospera vel adversa
writers by whom the prosperous or adverse affairs of
memorata sunt,
the ancient Roman people have been recorded,
secundi tum epistolae non ita paucae,
of the second kind, then, are not a few
quas Cicero, et Plinius de
letters which Cicero and Pliny wrote in detail about
rebus ad se pertinentibus tunc, quum eae fierent, perscripserunt,
matters concerning themselves at the time when those things
tum carmina inter amandum dolendumve scripta
were happening, and also poems written amid loving or grieving,
de amore vel tristitia,
about love or sadness,
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.
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,
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:
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.
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.
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:
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.
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.
Cogitandi
I would not want the aestheticomantic kind of thinking
genus aestheticomanticum nolim in solis vaticiniis veris fictisve quaeri, e.
to be sought only in true or fictive prophecies,
g. ecl. Virg. IIII. sed praestat
for example Virgil's fourth eclogue. but it is better
illud intermixtum aliis observare,
to observe it intermixed with other things,
quoties in
as often as the mind is to be directed
futura dirigendus ex praesentibus, vel praeteritis, vel omnino
toward future things from present things, or past things,
generalibus est, citra divinationem etiam omnem extraordinariam, animus.
or things wholly general, even without any extraordinary divination.
e. g.
For example:
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.
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.
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:
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.
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.
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.
Genus pulcre cogitandi strictius historicum,
The more strictly historical kind of thinking beautifully,
et in aestheticis tam empiricum, quam manticum,
and in aesthetic matters both the empirical and the mantic
differunt 1) a logica et
kind, differ 1) from the more severe logical and
critica severiori cura historici, saltim
critical care of the historian, at least when it
bene praeliminari, qua
has been well preliminarily prepared, by which,
per memoriam et iudicium intellectuale, multumque rationis
through memory and intellectual judgment, and much use of reason,
usum suam sibi materiem ex magna traditionum,
he selects for himself his material from the great jumble of traditions,
rumorum, famae, calumniarum, fictionum, fabularum e. c.
rumors, report, slanders, fictions, fables, and so
farragine seligit, ante, quam
on, before he weaves the things that have pleased
eleganti, quae placuerunt, contexat iucundae narrationis
him into the elegant webs of agreeable narration,
tela, 2) a logica experimentatorum et
2) from the logical solicitude of experimenters and
observatorum veri nominis inter philosophos sollicitudine,
observers truly so called among philosophers, by
qua rem sensam iudiciis
which they so present the sensed thing to the
intuitivis et experientiis stricte dictis ita sistunt
understanding through intuitive judgments and experiences strictly so called,
intellectui, ut vitium
so that, so far as possible,
subreptionis pro virili caveatur, et
the fault of surreption is guarded against,
enthymematice omissae maiores, opiniones praeconceptae:
as are major premises omitted enthymematically and preconceived opinions:
2) a logica et rationali providentia, qua politicus e.
2) from the logical and rational foresight by which, for example,
g. futurum suae reipublicae
the statesman measures the future condition of his republic,
statum, quasi ex aliqua specula, metitur.
as if from some watchtower.
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.
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.
Studium hoc veri in aestheticohistoricis,
This study of truth in aestheticohistorical matters,
quoniam maximam partem inferioribus animi
since for the greatest part it is exercised by
facultatibus exercetur, § 583,
the lower faculties of the soul, § 583,
non fictionibus solum latius dictis, § 505,
needs not only fictions more broadly so called, § 505,
indiget, sed in meditationibus etiam paululum extendendis interferet
but in meditations even to be extended a
complete certo a se cognitis, ut strictissime vera,
little it will also insert among things known by it with complete certainty as true in the strictest sense,
tum generalia minus certa, tum singularia,
both general things less certain, and singular
quae num vere sint huius universi possibilia, complete convictum non est.
things concerning which it has not been completely convinced whether they
§ 507.
are truly possible in this universe. § 507.
Hinc neque hoc veri studium assurget ultra verisimilitudinem,
Hence this study of truth will not rise beyond verisimilitude,
§ 483, neque tamen qualemcunque sataget attingere,
§ 483, and yet it will not strive to attain
sed sicut in
just any sort whatever, but just as in its
interspersis suis generalibus dogmaticam,
interspersed general things it will embrace dogmatic verisimilitude,
§ 577, amplectetur, sic in ideis strictissime dictam,
§ 577, so in ideas it will
§ 530,
embrace verisimilitude most strictly so called, § 530,
ne strictius quidem dictas fictiones historicas omnes refugientem,
not even fleeing all historical fictions more strictly so
§ 509, tamen et in his aversam ab omnibus,
called, § 509, yet even in these averse from all
quae falsitatis moralis, levis
things that could rightly be accused of moral falsity,
partium studii, credulitatisve iure possent accusari,
slight party-zeal, or credulity,
et poeticarum omnium fictionum, et utopiam et mundos,
and all poetic fictions, and utopia and worlds,
praeter hunc, optimos, quoties
besides this one, the best, whenever it binds its
historica fide suas cogitationes obligat. § 566.
thoughts by historical faith. § 566.
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. 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. Sunt in mundo fabularum milesiarum, aut fabellarum aesopicarum satis versati multi hospites in historicis. 5) Quando fictionibus faciliorem fidem sperat, quam strictissime veris. 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.
Section XXXVI. The poetic study of truth. 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. 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. 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.
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.
Sectio XXXVI. Studium veri poeticum.
Section XXXVI. The poetic study of truth.
Aestheticum veri studium absolutum, § XXXIIII,
The absolute aesthetic study of truth, Section XXXIV,
in aliis iam indicatis rationibus potest moveri
in other already indicated respects can be moved toward
ad genus cogitandi poeticum, § 566,
the poetic kind of thinking, § 566,
quando 1) venustae plenitudini requisitorum non
when 1) history does not provide enough for
satis historia porrigit, et aperte
the graceful fullness of requisites, and the good man
mavult vir bonus hinc
openly prefers from this point to lie,
mentiri copiam pulcriorem excogitans, quam callide fidem historicam corrumpere.
devising a more beautiful abundance, rather than cunningly corrupt historical faith.
2) Quando plus dignitatis,
2) When fictive heterocosmic examples will give more dignity,
vel etiam maiestatis dabunt, ficta exempla heterocosmica, quam historica,
or even majesty, than historical ones, which always have
semper aliquid humani passa, quod supprimere saepe permittit ne
suffered something human, which not even verisimilitude in the
strictissime quidem dicta verisimilitudo, § 584.
strictest sense often permits to be suppressed, § 584.
3) Quando moralis plus veritatis, characterum, loci,
3) When more moral truth, a
temporis maior unitas sperari potest,
greater unity of characters, place, and time can
et observabilior ac,
be hoped for, and a more observable and,
ut ita dicam, contractior nexus, ex heterocosmicis,
so to speak, more contracted connection from heterocosmic things,
quam ex rebus in hoc universo
than from things in this universe,
propter rationes superiores distractioribus,
more scattered on account of higher reasons, or more inconstant
aut propter imbecillitatem humanam inconstantioribus. 4) Quando
on account of human weakness. 4) When on account
ob anticipationes suorum potiorum in
of anticipations of his more important things in the
spectatoribus sperare potest notius ipsis heterocosmicum
spectators he can hope that the heterocosmic will be
fore, quam eventum huius mundi,
better known to them, than an event of this world,
sed in parte eiusdem his
but one situated in a part of the same
admodum incognita situm.
quite unknown to them.
Sunt in mundo fabularum
Many who are guests in historical matters are sufficiently
milesiarum,
versed in the world of Milesian
aut fabellarum aesopicarum satis versati multi hospites in historicis.
tales or Aesopic little fables.
5) Quando fictionibus faciliorem fidem sperat,
5) When he hopes for easier belief for fictions than
quam strictissime veris.
for things true in the strictest sense.
Hoc non ita raro posse
You will find that this faith can
sperari fidem invenies apud eos,
be hoped for not so rarely among those who
qui noverint, quoties, quot hominibus
have known how often, to how many people,
opus sit dicere: non putaram,
it is necessary to say: I had not thought
6) quando veritas strictissime dicta praevidetur alia omnia,
it, 6) when truth in the strictest sense is foreseen to be
quam eam habitura vitam, quae potissimum intenditur.
going to have any life other than that which is chiefly intended.
§ 561.
§ 561.
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. Universale enim esse, contingit talem talia dicere aut facere, secundum necessarium aut verisimile, singulare autem, quid Alcibiades fecerit, aut passus sit.
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. 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.
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.
Quod si studium veri absolutum impulerit
But if the absolute study of truth has driven
pulcre cogitaturum ad heterocosmica fingenda,
the one who is going to think beautifully toward inventing heterocosmic things,
§ 585, iam transmutatur in studium verisimilitudinis poeticae,
§ 585, it is now transformed into the study of poetic
§ 530, quae tantum abest, ut eadem sit
verisimilitude, § 530, which is so far from being the
cum verisimilitudine historica, et strictissime dicta,
same as historical verisimilitude, and verisimilitude in the strictest sense,
ut, si ad alterutram,
so that, if it were necessary to refer
vel dogmaticam, § 577,
it to either one, either dogmatic verisimilitude, § 577,
vel strictissime dictam eam referre necessarium esset,
or verisimilitude in the strictest sense, I would refer the
eikos poetarum ad dogmaticam potius referrem,
eikos of poets rather to dogmatic verisimilitude, with
favente satis Aristotele, qui historicum iubet,
Aristotle sufficiently favoring this, who orders the historian to
quae facta sunt, poetam,
report the things that have happened, the poet
qualia fieri debent, referre,
the sort of things that ought to happen,
et inde poesin meliorem et magis philosophicam laudat,
and from this he praises poetry as better and more philosophical
quam historiam, quia magis universalia dicat, historia autem singularia.
than history, because it speaks more universal things, while history speaks singular things.
Universale enim esse, contingit talem
For the universal is that it happens that
talia dicere aut facere,
such a person says or does such things,
secundum necessarium aut verisimile,
according to the necessary or the verisimilar,
singulare autem, quid Alcibiades fecerit, aut passus sit.
but the singular concerns what Alcibiades did, or suffered.
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. 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. Hoc artificium videtur habere falsitatis aliquid per indirectum etiam aestheticae. § 464.
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. 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. This artifice seems to have something of falsity, by indirection, even aesthetic falsity. § 464.
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.
Falluntur hinc critici quidam minus instructi
Hence certain less instructed critics are deceived,
verisimilitudinem poeticam ad historicae leges
examining poetic verisimilitude according to the laws of historical verisimilitude,
examinantes, quando poetam i. e.
when they immediately condemn a poet, that is,
nunc fingentem heterocosmica statim condemnant peccati in verisimilitudinem,
one now inventing heterocosmic things, for a sin against verisimilitude,
quando tunc et ibi fingit aliquem occidi, quando et ubi
when he invents that someone is killed then and there,
vixisse eundem adhuc historice vel verisimile,
although historically it is either verisimilar,
vel omnino certum sit,
or altogether certain, that the same person was still living then and
nullis ulterius auditis rei exceptionibus.
there, with no further exceptions of the matter having been heard.
Falluntur auctores, qui
Authors also are deceived who,
vere novum mundum creantes de
while truly creating a new world,
materiis etiam gravioribus in solis tamen fictionibus historicis subsistunt,
nevertheless in even weightier materials remain within merely historical fictions,
et tunc rem suam
and then think that they have carried out their
optime se gessisse putant,
business in the best way, when
quando bonum aliquem hominem eo induxerunt,
they have led some good man to this point,
ut nihil fraudis subesse cogitationibus senserit,
that he senses no fraud lying beneath their thoughts,
habens, quicquid illi fingunt, pro strictissime veris,
holding whatever they invent as things true in the strictest sense,
et anecdotis forsitan auro quovis carioribus.
and perhaps as anecdotes dearer than any gold.
Hoc artificium videtur habere falsitatis aliquid per indirectum etiam aestheticae.
This artifice seems to have something of falsity, by indirection, even aesthetic
§ 464.
falsity. § 464.
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. 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:
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. 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:
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.
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:
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.
Nec ponenda praesertim est verisimilitudo poetica in probabilitate,
Nor especially is poetic verisimilitude to be placed in probability,
vel logica et disciplinari, vel historica et strictissime
either logical and disciplinary, or historical and strictly so called,
dicta illius hypotheseos, sub qua
of that hypothesis under which the objects of graceful
venustae cognitionis mediae obiecta,
middle cognition perhaps could have come to be,
per fictionem poeticam fieri forte potuissent etiam in hoc universo,
through poetic fiction, even in this universe,
quaeque novi mundi
and which is, as it were,
quasi basis et fundamentum est. § 511.
the base and foundation of the new world. § 511.
Nec est analogi
Nor does it belong to the ordinary analogue of
rationis ordinario primas universi causas,
reason to examine more deeply the first causes
elementa et stamina prima penitius
of the universe, its elements, and its first threads,
examinare, dum haeret in effectis phaenomenis.
while it clings to effects and phenomena.
Quando vero figmentum analogicum omnino talia illi ponit ob oculos,
But when an analogical figment altogether places such things before its eyes,
§ 516, quorum iam habet intra se quasdam
§ 516, of which it already has within itself certain
anticipationes ex dudum sibi cognito mundo poetarum,
anticipations from the world of poets long since known to it,
§ 573, hypothesin qualemcunque,
§ 573, it seizes whatever hypothesis there is,
lemmatis instar, arripit,
after the fashion of a lemma,
per eandem, velut notum aliquem pontem,
through the same, as through some known bridge,
in novum tuum mundum salire
it is prepared to leap into your new world,
paratum habet, nec veretur:
nor does it fear:
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.
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:
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.
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.
Quum genus cogitandi poeticum § 580
Since the poetic kind of thinking, § 580,
non sit, nisi venusta quaedam, saltim non inelegans,
is nothing except a certain graceful, or at least not inelegant,
exceptio, § 585. 25. omnis eiusdem verisimilitudo in eo
exception, § 585. 25., all its verisimilitude consists in this,
consistit, ut vel rationis etiam analogo pateat,
that either even to the analogue of reason it
esse,
is evident that what could have been while preserving
quae salva totius pulcritudine potuit, minima,
the beauty of the whole is minimal,
vel certe ne pateat eidem
or certainly that the contrary is not evident to the same,
contrarium, ne quid citra necessitatem
so that nothing seems able truly to be said
aestheticam, §§ 491–503, 565,
to have been invented short of aesthetic necessity, §§ 491–503, 565.
fictum vere dici posse videatur. Primam dicere verisimilitudinem liceat poeticam positivam,
It is permitted to call the first positive poetic verisimilitude,
negativam alteram.
the other negative.
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. 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.
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. 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.
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.
Prima ergo quaestio foret in diiudicanda
Therefore the first question in judging the verisimilitude
generis cogitationum poetici verisimilitudine, an
of the poetic kind of thoughts would be,
omnino illud eligere fuerit aesthetice necessarium,
whether it was altogether aesthetically necessary to choose it,
an forsan etiam
or whether perhaps the contrary is evident even to
analogo rationis belle instructo pateat contrarium.
a well-instructed analogue of reason.
Sic Quintilianus historicis
Thus Quintilian rightly then objects poetic license to the Greek historians,
Graecis recte tunc obiicit poeticam licentiam, quoties poetice quantumcunque verisimilia
as often as they mix things poetically verisimilar,
suis immiscent,
however much so, into their own materials,
quoniam his per historias omnino locus non est,
because for these things there is
§ 584.
altogether no place within histories, § 584.
Hanc verisimilitudinem, ut ita dicam,
This verisimilitude, so to speak
externam et respectivam ad conditionem auctoris
external and relative to the condition of the author
et dignitatem operis aut totius,
and to the dignity of the work or of the whole
cui immiscendum est poetice verisimile,
into which the poetically verisimilar thing must be mixed,
et dispositiones praecipuorum, quibus placere velis, spectatorum;
and to the dispositions of the principal spectators
plerumque supponimus ex definitione restrictioris cogitandi
whom you wish to please; we for the most part suppose from the definition of the more restricted kind of thinking,
generis, quod aliquis semel elegit, postulati instar, hypothetice
which someone has once chosen, to be deduced hypothetically,
deducendam.
after the fashion of a postulate.
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. Vnde postulata: Epopoeus, Aesopus e. c. esse qui velit, hanc quaerat verisimilitudinem. Vlterius ipsius meditationis diiudicatio vix adscendet aesthetica. 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.
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. Hence the postulates: whoever wishes to be an epic poet, an Aesop, etc., let him seek this verisimilitude. A further judging of the meditation itself will scarcely ascend to aesthetics. 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.
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.
Epopoeiam decent fabulae theologicae et heroicae,
Theological and heroic fables befit epic poetry;
fictas fabellas genus cogitandi
invented little fables befit the poetic kind of thinking,
poeticum, et hinc peculiaris verisimilitudo. e. c. Haec patent axiomatice.
and hence a peculiar verisimilitude, etc. These things are axiomatically evident.
Vnde postulata: Epopoeus, Aesopus e. c.
Hence the postulates: whoever wishes to
esse qui velit, hanc quaerat verisimilitudinem.
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,
Whether the author has well, wisely,
et se suisque sperandis praesertim auditoribus convenienter decreverit epopoeus,
and suitably for himself and especially for his hoped-for hearers decided to
Aesopus e. c.
become some epic poet, Aesop, etc., does
aliquis fieri, verisimilitudinem et hinc pulcritudinem meditationis
not directly touch the verisimilitude and hence the
internam directo non tangit.
internal beauty of the meditation.
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? Ovidius optimum aliquem maximum poetarum mundum descripturus in suis metamorphoseon: tamen aliquam vult observare cum hoc universo conspirantem chronologiam:
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? Ovid, about to describe some best, greatest world of poets in his Metamorphoses: nevertheless wishes to observe some chronology harmonizing with this universe:
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!
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:
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!
Secunda quaestio erit: An novus ille mundus,
The second question will be: whether that new world,
in quem poeta, sive prosaicus scriptor,
into which the poet, whether he be a prose
sive metricus, sive pictor, sive sculptor, e.
writer, a metrical one, a painter, a sculptor, etc.,
c. fuerit, nos introducturus est,
is going to introduce us, is,
sit ex ipsius intentionibus eleganter
with his own intentions elegantly to be executed,
exsequendis mundus, post hunc, optimus?
the best world after this one. indeed,
immo an thema possit in eodem
whether the theme could in that world truly be
vere perfectius elegantiusque sisti iucundo cuidam vigilantium somnio,
set forth more perfectly and more elegantly to a certain pleasant
ac
dream of those awake, than that could have been
in hoc illud mundo cogitari potuisset?
thought in this world? whether the new
an in his solis momentis
world differs from ours only in those moments
ad finem venustum facientibus mundus novus a nostro
that make for a graceful end,
differat,
or whether many other and different
an etiam frustra ponantur in eodem multa alia et diversa?
things are also placed in it in vain?
Ovidius optimum aliquem maximum poetarum
Ovid, about to describe some best,
mundum descripturus in suis metamorphoseon:
greatest world of poets in his Metamorphoses:
tamen aliquam vult observare cum hoc universo conspirantem chronologiam:
nevertheless wishes to observe some chronology harmonizing with this universe:
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!
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:
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. En! tibi primum Chaos. v. 5–20.
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. Look! first, Chaos for you, verses 5–20.
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,
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? Interim omnia fiunt, usque ad animalia. 75.
53. Did the air-pump, then, only at last discover the gravity of air? Meanwhile all things are made, up to the animals. 75.
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.
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.
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.
Est tamen humani generis iactura dolori.
but all deplored
and questioned the estate of earth deprived
of mortals.
246.
246.
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.
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.
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.
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,
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.
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.
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.
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.
Est tamen humani generis iactura dolori.
but all deplored
and questioned the estate of earth deprived
of mortals.
246.
246.
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.
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.
Poetice ficturus, quantum ullus unquam poeta mentiri potuit,
About to invent poetically, as much as any poet ever could
orditur tamen ab istis historiis;
lie, he nevertheless begins from those histories
quas non pauci dogmatice
which not a few concede to be wholly true dogmatically,
veras omnino, plerasque omnes verisimiles concessant,
and nearly all the rest verisimilar, and
iisque primum non nisi fictiones intexuerit,
into them at first he has woven only fictions which
quas historicarum limites transgredi vel nemo,
either no one, or certainly his
vel certe potissimum attendendi
readers especially to be attended to,
eius lectores hariolari non poterant.
could divine as passing beyond historical limits.
En! tibi primum Chaos. v. 5–20.
Look! first, Chaos for you, verses 5–20.
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,
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
53. Did the air-pump, then, only at last discover
demum invenit?
the gravity of air?
Interim omnia fiunt, usque ad animalia. 75.
Meanwhile all things are made, up to the animals. 75.
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.
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.
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.
Est tamen humani generis iactura dolori.
but all deplored
and questioned the estate of earth deprived
of mortals.
246.
246.
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.
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
292. And now the bard seems to himself to
verisimilisque historici propinasse vates videtur,
have offered enough of the historically true and of
ut imprudentes sensim
verisimilitude in the strictest sense, so that the unwary,
ex hoc omnino universo rapti,
gradually snatched from this universe altogether,
quasi per somnium, in eum mundum deferantur,
as if through a dream, are carried over into that world
ubi homines ex saxis, ex Daphne
where humans come from stones, a laurel from Daphne,
laurus, ex Ione iuvenca, ex iuvenca Io,
a heifer from Io, Io from a heifer,
et si qua sunt alia, quae speciosa dehinc miracula promitt.
and whatever other things there are, which henceforth promise splendid marvels.
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.
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,
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.
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.
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.
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.
Est tamen humani generis iactura dolori.
but all deplored
and questioned the estate of earth deprived
of mortals.
246. / 246.
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.
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. 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? An hoc contrarium perfectioni possit etiam ab analogo rationis deprehendi? § 513, 516. Habes iteratum Horatii praeceptum:
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. 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? Can this contrary to perfection also be detected by the analogue of reason? §§ 513, 516. You have the repeated precept of Horace:
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.
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:
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.
Hae quaestiones § 590. 592. non sunt solae,
These questions, § 590, 592, are not the only ones,
nec primariae, § 585. 588.
nor the primary ones, § 585, 588.
Sit necessarium heterocosmica ponere,
Let it be necessary to posit heterocosmic things;
sit eorum non maior, ac necessaria, differentia, ab hoc universo.
let their difference from this universe be not greater than necessary.
Iam tertium quaeritur: An
Now a third thing is asked:
ex omni mundo poetarum et eius regionibus uberioribus,
whether from the whole world of poets and from its richer,
dignioribus, verisimilioribus, notioribus, e. c. § 22.
worthier, more verisimilar, better known regions, etc., § 22,
novam tuam potius desumpseris fictionem,
you have rather taken your new fiction,
quam ut in ignotas fabularum ambages,
than led your guests into unknown windings of
sine necessitate aesthetica, tuos induxeris hospites?
fables without aesthetic necessity?
An hoc contrarium perfectioni possit etiam
Can this contrary to perfection also be detected
ab analogo rationis deprehendi? § 513, 516.
by the analogue of reason? §§ 513, 516.
Habes iteratum Horatii praeceptum:
You have the repeated precept of Horace:
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
The verisimilitude of poetic fiction especially demands, that,
mundo poetarum in iis, in quibus recedit ab hoc universo,
in those things in which it withdraws from this universe,
sit adeo
to the world of poets, the thing you are
similis et consentanea,
thinking should be so similar and harmonious
ac illud pulcritudo totius permittit, quod cogitas, § 484.
as the beauty of the whole permits, § 484.
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:
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. Probe perpendendum est argumentum Ovidii probans, quando iam in heterocosmica mergitur altius:
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. The proving argument of Ovid is to be weighed carefully, when he now plunges more deeply into heterocosmic things:
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:
Prisca fides facto, sed fama perennis.
From hoary eld the tale, but its renown
sings on forever.
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:
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:
Prisca fides facto, sed fama perennis.
From hoary eld the tale, but its renown
sings on forever.
Hinc necessitas studii mythologici
Hence the necessity of mythological study,
non illius graeci romanique tantum,
not only that Greek and Roman study,
sed omnium temporum et locorum, quorum fama, cabbala,
but of all times and places whose report, cabbala,
traditiones dare poterunt regionem
and traditions will be able to give a region
mundi poetici alicui cogitanti certorum in gratiam
of the poetic world especially commendable to someone thinking
de certo themate praesertim commendabilem, § 594.
about a definite theme for the sake of definite persons, § 594.
Nec obiicias dissensus veterum in
Nor should you object the disagreements of the ancients
ipso hoc mundo poetarum,
within this very world of poets,
si chaos eius primitivum a
if you distinguish its primitive chaos from
derivativo sensim illico mundo
the derivative world and beauty that gradually emerged from it,
ac decore distinguas, tecumque cogites difficultatem,
and think with yourself of the difficulty
in qua non ita longe tempore inter se
in which poets once found themselves when
distantes poetae quondam versabantur,
they were not so far distant from one another in
notum sibi reddendi vix ante se natum locupletatumve mundum poeticum,
time, that of making known to themselves a poetic
quae nunc omnis paene disparuit.
world scarcely born or enriched before them, which difficulty has now almost entirely disappeared.
Probe perpendendum est argumentum Ovidii probans,
The proving argument of Ovid is to be weighed
quando iam in heterocosmica mergitur altius:
carefully, when he now plunges more deeply into heterocosmic things:
Quis hoc credat, nisi sit pro teste vetustas?
It is much beyond belief,
were not receding ages witness,
Met. I, 400. Cui consentit illud
Metamorphoses I, 400. With which agrees that saying of
Virgilii de navibus in nymphas mutatis:
Virgil about the ships changed into nymphs:
Prisca fides facto, sed fama perennis.
From hoary eld the tale, but its renown
sings on forever.
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:
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:
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.
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.
Quartum quaeritur: An poetice fingens mundi poetici
Fourth it is asked: whether the one inventing poetically
utopiam tetigerit ingressusque sit,
has touched and entered the utopia of the poetic
ultra § 456, limites, et ita quidem,
world, beyond the limits of § 456, and that in
ut deprehendi possit in
such a way that he can be detected in
bidentali per ipsum analogon rationis, an
a bidental by the analogue of reason itself,
omnino tristes eiusmodi campos vitris fractis
or whether he has altogether enlarged such gloomy fields
merorumque somniorum interpretamentis auxerit? § 574.
with broken glasses and interpretations of mere dreams? § 574.
Multo venustius princeps Gallorum epicus vates
Much more gracefully the chief epic bard of the
eremitam fatidicum, fanaticismi daemonem, Ludovicum
French invents a prophetic hermit, the demon of fanaticism, and St.
sanctum ducem Henrici magni per caelos et inferos
Louis as guide of Henry the Great through heavens and hells,
fingit, ac si deos maiorum
than if he had recalled the gods of
minorumque gentium ex utopicis graecorum
the greater and lesser nations from the utopian interworlds
vel romanorum intermundiis revocasset.
of the Greeks or Romans.
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? 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
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? 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.
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.
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.
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.
Quinta sit quaestio: An poeta non ea coniunxerit,
Let the fifth question be: whether the poet has not joined those
quae seorsim quidem sic se bene satis
things which separately indeed could be well enough constituted,
habere, qua possibilitatem aesthetice perspiciendam,
with respect to a possibility to be aesthetically perceived,
possent, sint tamen in unum conflata incompossibilia?
yet when fused into one are incompossible?
Hoc tribus potissimum contingere posset rationibus, 1)
This could happen chiefly in three ways, First,
si regiones mundi poetici per aeternas inimicitias seiunctae confunderentur,
if regions of the poetic world separated by eternal enmities were
cuius casus exemplum est, § 515.
confused, an example of which case is at § 515.
Mundus enim poetarum habet suas insulas et peninsulas, neque vatum
For the world of poets has its islands and peninsulas.
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,
Second, if something
quod in
is attached to the world of poets which in
se nihil implicat contradictionis aestheticae,
itself implies nothing of aesthetic contradiction, but
sumtae tamen iam semel mundi poetici
would so conflict with a portion of the poetic
portioni sic repugnaret, ut fieret figmentum
world once already taken up, that it would become
anomalon sine necessitate, § 520.
an anomalous figment without necessity, § 520.
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.
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. 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. Tunc enim, ut illius, non ut huius portiones spectatae spontaneum voluptatis caussa somnium temere non interrumpent.
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. 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. 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.
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.
3) Si semel transgressis in heterocosmica
Third, if, once we have crossed over into heterocosmic things,
nobis talia huius universi phaenomena et
such phenomena of this universe and these strictly
ea strictissime vera denuo
true things were again set forth to us when
non opinantibus exponerentur, quibus,
we were not expecting them, by which,
quoniam stare cum mundo ficto non
since they cannot stand together with the fictive world,
possunt, velut expergefacti ex somnio vigilantium spontaneo
as if awakened from the spontaneous dream of those awake,
cogeremur forsan subinviti tunc,
we would perhaps be compelled, somewhat unwillingly,
quando nondum tempus est,
then when it is not yet time,
agnoscere ficta esse,
to recognize that all the things are fictions,
et quidem strictius, omnia, quae, tanquam praesentia,
and indeed more strictly so, which, as if present,
praestigiis poetae
willingly yielding to the poet's enchantments,
lubenter cedentes ad aulea usque volebamus intueri.
we wanted to gaze upon all the way to the curtains.
Ob hoc vitium vitandum Aristoteles satis
For avoiding this fault Aristotle rather wittily judged
lepide poetam excusatione dignum iudicavit,
the poet worthy of excuse,
si facta pangat, et
if he composes facts and writes things true
strictissime vera scribat, quam tamen ipsi non concedit,
in the strictest sense, which nevertheless he does not grant
nisi quando et in quantum sint verisimilia,
to him except when and insofar as they are verisimilar,
quod hic interpretor in omni suo ambitu,
which here I interpret in its whole range, so
ut habeant etiam verisimilitudinem poeticam,
that they also have poetic verisimilitude, so
ut in novo illo mundo, quem fingimus,
that in that new world which we invent they
aeque locum habeant, ac in hoc.
have a place equally as in this one.
Tunc enim, ut illius,
For then, regarded as portions of that world,
non ut huius portiones spectatae
not of this one, they will not rashly interrupt
spontaneum voluptatis caussa somnium temere non interrumpent.
the spontaneous dream for the sake of pleasure.
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? 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. Hinc utique peccaret in verisimilitudinem, etiam poeticam, qui Turcae e. g. mysteria veterum aegyptiorum affingeret, et Sinensibus Gothorum mythologias. Illi autem non peccarent, qui Christiani de Christiano Christianorum gratia nonnihil fingentes semper et ubique mundum superstitionum graecorum et romanorum habitant? Miltoni mundus est verisimilior.
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. 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. 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. 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? Milton's world is more verisimilar.
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.
Sextum quaeritur: An poeta mundum,
Sixth it is asked: whether the poet, choosing the
praeter hunc, optimum suis finibus legens,
best world besides this one for his own ends,
§ 591, figmentum suum bene analogicum, § 516, 595.
§ 591, has suitably conformed his well-analogical figment, §§ 516, 595,
conformaverit mundi poetici inter portiones insociabiles, § 598.
among the unsociable portions of the poetic world, § 598,
illi potissimum parti ac regioni,
especially to that part and region
quae iisdem poetae
which is best for the same ends of the poet?
finibus est optima?
Nearly all religions have some part of their own in the world of poets.
Habent omnes paene religiones aliquam suam partem in mundo poetarum.
Almost any history of commonwealths,
Quaevis paene rerum publicarum historia, si surgere
if you wish to
velis in prima ditionum tempora,
rise into the first times of dominions, of
fictionum et incertae satis famae caput inter nubila condit.
fictions and sufficiently uncertain fame hides its head among the clouds.
Hinc utique peccaret in verisimilitudinem, etiam poeticam,
Hence he would certainly sin against verisimilitude, even poetic
qui Turcae e. g.
verisimilitude, who, for example, would attach the
mysteria veterum aegyptiorum affingeret, et Sinensibus Gothorum mythologias.
mysteries of the ancient Egyptians to a Turk, and the mythologies of the Goths to the Chinese.
Illi autem non peccarent, qui
But would those not sin, who,
Christiani de Christiano Christianorum gratia nonnihil fingentes semper
Christians inventing something about a Christian for the sake of Christians,
et ubique mundum superstitionum graecorum et romanorum habitant?
always and everywhere inhabit the world of Greek and Roman superstitions?
Miltoni mundus est verisimilior.
Milton's world is more verisimilar.
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.