§ 676
Naturam materiae suae dimensus iustus lucis et umbrae dispensator, § 667. attendat etiam internam eius turpitudinem vel pulcritudinem, § 203, 204. quatenus a cogitationum pulcritudine differens facit; ut pulcra turpiter, turpia pulcerrime cogitari possint, § 18. Quis enim dubitet, an pulcra turpitudinis imago, miscere debeat umbram et lucem aliter, ac non foeda solum pulcritudinis deformatio, sed etiam pulcra Veneris effigies? § 666. Formaliter pulcram foedissimae mulierculae picturam exhibens Ovidius, Am. I. 8. in aliis ferae ductibus,
The just distributor of light and shade, having measured the nature of his material, §667, should also attend to its internal ugliness or beauty, §§203–204, insofar as, differing from the beauty of thoughts, it makes it possible for beautiful things to be thought uglily and ugly things most beautifully, §18. Who would doubt that a beautiful image of ugliness ought to mix shade and light otherwise than not only an ugly deformation of beauty but also a beautiful image of Venus? §666. Ovid, exhibiting a formally beautiful picture of a most foul little woman, Amores I.8, says among other wild strokes:
Hanc, ait, ego nocturnas versam volitare per urbes
Suspicor, et pluma corpus anile tegi.
Suspicor, et fama est. Oculis quoque pupula duplex
Fulminat, et gemino lumen ab orbe venit.
"Her I suspect among night's spirits to fly,
And her old body in birds' plumes to lie.
Fame saith as I suspect; and in her eyes,
Two eyeballs shine, and double light thence flies."
Nonne hoc lumen, haec fulmina reticuisset in quavis matrona, quam laudare aggressus foret; etiamsi fuissent magis conspicua magis rubris in oculis, ac huius anus erant lacrimosa vino lumina?
Would he not have kept silent about this light, these flashes, in any matron whom he had undertaken to praise, even if they had been more conspicuous in redder eyes than were this old woman's "eyes watery with wine"?
Naturam materiae suae dimensus iustus lucis et umbrae dispensator, § 667. attendat etiam internam eius turpitudinem vel pulcritudinem, § 203, 204. quatenus a cogitationum pulcritudine differens facit; ut pulcra turpiter, turpia pulcerrime cogitari possint, § 18. Quis enim dubitet, an pulcra turpitudinis imago, miscere debeat umbram et lucem aliter, ac non foeda solum pulcritudinis deformatio, sed etiam pulcra Veneris effigies? § 666. Formaliter pulcram foedissimae mulierculae picturam exhibens Ovidius, Am. I. 8. in aliis ferae ductibus,
The just distributor of light and shade, having measured the nature of his material, §667, should also attend to its internal ugliness or beauty, §§203–204, insofar as, differing from the beauty of thoughts, it makes it possible for beautiful things to be thought uglily and ugly things most beautifully, §18. Who would doubt that a beautiful image of ugliness ought to mix shade and light otherwise than not only an ugly deformation of beauty but also a beautiful image of Venus? §666. Ovid, exhibiting a formally beautiful picture of a most foul little woman, Amores I.8, says among other wild strokes:
Hanc, ait, ego nocturnas versam volitare per urbes
Suspicor, et pluma corpus anile tegi.
Suspicor, et fama est. Oculis quoque pupula duplex
Fulminat, et gemino lumen ab orbe venit.
"Her I suspect among night's spirits to fly,
And her old body in birds' plumes to lie.
Fame saith as I suspect; and in her eyes,
Two eyeballs shine, and double light thence flies."
Nonne hoc lumen, haec fulmina reticuisset in quavis matrona, quam laudare aggressus foret; etiamsi fuissent magis conspicua magis rubris in oculis, ac huius anus erant lacrimosa vino lumina?
Would he not have kept silent about this light, these flashes, in any matron whom he had undertaken to praise, even if they had been more conspicuous in redder eyes than were this old woman's "eyes watery with wine"?
Naturam materiae suae dimensus iustus lucis et
The just distributor of light and shade,
umbrae dispensator, § 667.
having measured the nature of his material, §667,
attendat etiam internam eius turpitudinem vel pulcritudinem, § 203, 204.
should also attend to its internal ugliness or beauty, §§203–204,
quatenus a cogitationum pulcritudine differens facit;
insofar as, differing from the beauty of thoughts, it makes
ut pulcra turpiter,
it possible for beautiful things to be thought
turpia pulcerrime cogitari possint, § 18.
uglily and ugly things most beautifully, §18.
Quis enim dubitet, an pulcra turpitudinis imago,
Who would doubt that a beautiful image
miscere debeat umbram et lucem aliter,
of ugliness ought to mix shade
ac non foeda solum pulcritudinis deformatio,
and light otherwise than not only an ugly deformation
sed etiam pulcra Veneris
of beauty but also a beautiful image of Venus?
effigies? § 666. Formaliter pulcram foedissimae mulierculae
§666. Ovid, exhibiting a formally beautiful
picturam exhibens Ovidius, Am. I. 8.
picture of a most foul little woman, Amores
in aliis ferae ductibus,
I.8, says among other wild strokes:
Hanc, ait, ego nocturnas versam volitare per urbes
Suspicor, et pluma corpus anile tegi.
Suspicor, et fama est. Oculis quoque pupula duplex
Fulminat, et gemino lumen ab orbe venit.
"Her I suspect among night's spirits to fly,
And her old body in birds' plumes to lie.
Fame saith as I suspect; and in her eyes,
Two eyeballs shine, and double light thence flies."
Nonne hoc lumen, haec fulmina
Would he not have kept silent about this light,
reticuisset in quavis matrona, quam laudare aggressus foret;
these flashes, in any matron whom he had undertaken
etiamsi fuissent magis conspicua
to praise, even if they had been more conspicuous
magis rubris in oculis, ac huius anus
in redder eyes than were this old
erant lacrimosa vino lumina?
woman's "eyes watery with wine"?
Naturam materiae suae dimensus iustus lucis et umbrae dispensator, § 667. attendat etiam internam eius turpitudinem vel pulcritudinem, § 203, 204. quatenus a cogitationum pulcritudine differens facit; ut pulcra turpiter, turpia pulcerrime cogitari possint, § 18. Quis enim dubitet, an pulcra turpitudinis imago, miscere debeat umbram et lucem aliter, ac non foeda solum pulcritudinis deformatio, sed etiam pulcra Veneris effigies? § 666. Formaliter pulcram foedissimae mulierculae picturam exhibens Ovidius, Am. I. 8. in aliis ferae ductibus, / The just distributor of light and shade, having measured the nature of his material, §667, should also attend to its internal ugliness or beauty, §§203–204, insofar as, differing from the beauty of thoughts, it makes it possible for beautiful things to be thought uglily and ugly things most beautifully, §18. Who would doubt that a beautiful image of ugliness ought to mix shade and light otherwise than not only an ugly deformation of beauty but also a beautiful image of Venus? §666. Ovid, exhibiting a formally beautiful picture of a most foul little woman, Amores I.8, says among other wild strokes:
Hanc, ait, ego nocturnas versam volitare per urbes
Suspicor, et pluma corpus anile tegi.
Suspicor, et fama est. Oculis quoque pupula duplex
Fulminat, et gemino lumen ab orbe venit.
"Her I suspect among night's spirits to fly,
And her old body in birds' plumes to lie.
Fame saith as I suspect; and in her eyes,
Two eyeballs shine, and double light thence flies."
Nonne hoc lumen, haec fulmina reticuisset in quavis matrona, quam laudare aggressus foret; etiamsi fuissent magis conspicua magis rubris in oculis, ac huius anus erant lacrimosa vino lumina? / Would he not have kept silent about this light, these flashes, in any matron whom he had undertaken to praise, even if they had been more conspicuous in redder eyes than were this old woman's "eyes watery with wine"?
§ 677
Denique materiae suae naturam prudenter perpendens, ut lucem et umbram caute dispenset, § 667. de eo sit sollicitus, an ea iam per se satis certa videatur, an fulgentibus demum ex rationibus omnem suam evidentiam sperare debeat, an theoretica sit eadem, an practica. § 576. In theoreticis enim et rebus eiusmodi, quae frustra probari, quarum rationes nequicquam recenseri videantur, multa nitere poterunt, quae vel omnino reiicienda, vel non nisi per umbras ostendenda sunt, ubi vel summa de veritate rei contentio, vel vehementiores animi commotiones excitandae praevidentur, § 661, 662. vel atrocissimas accusatoris criminationes in foro, vel praesentissimum vitae periculum inter latrones a capite suo depulsurus, quis
Finally, prudently weighing the nature of his material so as to distribute light and shade cautiously, §667, he should be concerned whether it already seems sufficiently certain in itself, or whether it must hope for all its evidentness only from shining reasons; whether it is theoretical or practical, §576. For in theoretical matters and matters of this sort, which seem vainly proved and whose reasons seem recounted to no purpose, many things may shine that should either be wholly rejected or shown only through shades, where either the highest contention about the truth of the thing is foreseen or more vehement movements of the soul must be excited, §§661–662. When someone is about to repel from his head either the most atrocious accusations of an accuser in court or the most present danger of life among robbers, who would
humum florentibus herbis
Spargeret? aut viridi fontes induceret umbra?
"or who with flowering herbs bestrewn the ground,
and o'er the fountains drawn a leafy veil?—"
Denique materiae suae naturam prudenter perpendens, ut lucem et umbram caute dispenset, § 667. de eo sit sollicitus, an ea iam per se satis certa videatur, an fulgentibus demum ex rationibus omnem suam evidentiam sperare debeat, an theoretica sit eadem, an practica. § 576. In theoreticis enim et rebus eiusmodi, quae frustra probari, quarum rationes nequicquam recenseri videantur, multa nitere poterunt, quae vel omnino reiicienda, vel non nisi per umbras ostendenda sunt, ubi vel summa de veritate rei contentio, vel vehementiores animi commotiones excitandae praevidentur, § 661, 662. vel atrocissimas accusatoris criminationes in foro, vel praesentissimum vitae periculum inter latrones a capite suo depulsurus, quis
Finally, prudently weighing the nature of his material so as to distribute light and shade cautiously, §667, he should be concerned whether it already seems sufficiently certain in itself, or whether it must hope for all its evidentness only from shining reasons; whether it is theoretical or practical, §576. For in theoretical matters and matters of this sort, which seem vainly proved and whose reasons seem recounted to no purpose, many things may shine that should either be wholly rejected or shown only through shades, where either the highest contention about the truth of the thing is foreseen or more vehement movements of the soul must be excited, §§661–662. When someone is about to repel from his head either the most atrocious accusations of an accuser in court or the most present danger of life among robbers, who would
humum florentibus herbis
Spargeret? aut viridi fontes induceret umbra?
"or who with flowering herbs bestrewn the ground,
and o'er the fountains drawn a leafy veil?—"
Denique materiae suae naturam prudenter perpendens,
Finally, prudently weighing the nature of his material
ut lucem et umbram caute dispenset, § 667.
so as to distribute light and shade cautiously, §667,
de eo sit sollicitus, an ea iam per se
he should be concerned whether it already seems sufficiently
satis certa videatur,
certain in itself, or whether it must hope
an fulgentibus demum ex rationibus omnem
for all its evidentness only from shining reasons;
suam evidentiam sperare debeat, an theoretica sit eadem, an practica.
whether it is theoretical or practical,
§ 576. In theoreticis enim et rebus
§576. For in theoretical matters and matters of this sort,
eiusmodi, quae frustra probari, quarum rationes
which seem vainly proved and whose reasons seem recounted to no purpose,
nequicquam recenseri videantur, multa nitere poterunt,
many things may shine that should either be
quae vel omnino reiicienda, vel non nisi per umbras
wholly rejected or shown only through shades,
ostendenda sunt, ubi vel summa de
where either the highest contention about the
veritate rei contentio,
truth of the thing is foreseen or
vel vehementiores animi commotiones excitandae
more vehement movements of the soul must be excited, §§661–662.
praevidentur, § 661, 662.
When someone is about to repel from
vel atrocissimas accusatoris criminationes in foro,
his head either the most atrocious accusations of an accuser in court
vel praesentissimum vitae periculum inter latrones a capite suo
or the most present danger of life among robbers,
depulsurus, quis
who would
humum florentibus herbis
Spargeret? aut viridi fontes induceret umbra?
"or who with flowering herbs bestrewn the ground,
and o'er the fountains drawn a leafy veil?—"
Denique materiae suae naturam prudenter perpendens, ut lucem et umbram caute dispenset, § 667. de eo sit sollicitus, an ea iam per se satis certa videatur, an fulgentibus demum ex rationibus omnem suam evidentiam sperare debeat, an theoretica sit eadem, an practica. § 576. In theoreticis enim et rebus eiusmodi, quae frustra probari, quarum rationes nequicquam recenseri videantur, multa nitere poterunt, quae vel omnino reiicienda, vel non nisi per umbras ostendenda sunt, ubi vel summa de veritate rei contentio, vel vehementiores animi commotiones excitandae praevidentur, § 661, 662. vel atrocissimas accusatoris criminationes in foro, vel praesentissimum vitae periculum inter latrones a capite suo depulsurus, quis / Finally, prudently weighing the nature of his material so as to distribute light and shade cautiously, §667, he should be concerned whether it already seems sufficiently certain in itself, or whether it must hope for all its evidentness only from shining reasons; whether it is theoretical or practical, §576. For in theoretical matters and matters of this sort, which seem vainly proved and whose reasons seem recounted to no purpose, many things may shine that should either be wholly rejected or shown only through shades, where either the highest contention about the truth of the thing is foreseen or more vehement movements of the soul must be excited, §§661–662. When someone is about to repel from his head either the most atrocious accusations of an accuser in court or the most present danger of life among robbers, who would
humum florentibus herbis
Spargeret? aut viridi fontes induceret umbra?
"or who with flowering herbs bestrewn the ground,
and o'er the fountains drawn a leafy veil?—"
§ 678
Cautus lucis et umbrae dispensator pro virili perpendet 2) naturam suam ipse, qualem § 150. descripsimus, dynamometria naturali, sed severa, § 457. cum considerata secundum § 667–677. materiae datae natura collatam. § 666, 622. Si quam vix agnoscit rem, ut primum iuxta stetit,
The cautious distributor of light and shade will, as far as he can, weigh 2) his own nature, as we described it in §150, by a natural but severe dynamometry, §457, compared with the nature of the given material considered according to §§667–677, §§666, 622. If he scarcely recognizes a thing when he first stands near it,
qualem primo quis surgere mense
Aut videt, aut vidisse putat per nubila lunam,
"As when, in her young month and crescent pale,
One sees th' o'er-clouded moon, or thinks he sees."
Aen. VI. 454.
eam numquam sibi leget, nec audebit exornare quam non posset, nisi fucis, illinere § 626. § 648. Praesertim hoc sibi dictum putet;
Aeneid VI.454, he will never choose it for himself, nor will he dare to adorn what he could only smear with false colorings, §§626, 648. Let him especially think this said to himself:
Ad pugnam qui rhetorica descendit ab umbra.
"He therefore that quits the shadowy conflicts of rhetoric for the arena of real debate,"
Iuv. VII. 173.
et suae nonnunquam artis topicis, argumentis, figuris, flosculis, chriis, periodis, e. c. adeo confidit, ut quamcunque materiam sibi temere sumens, vel incidat in battologiam § 639. notatam, vel in fucos umbratiles, § 109.
Juvenal VII.173, and sometimes trusts so much in the topics, arguments, figures, little flowers, chriae, periods, etc. of his art that, rashly taking up any material whatever, he falls either into the battology noted in §639 or into shadowy false colorings, §109.
Cautus lucis et umbrae dispensator pro virili perpendet 2) naturam suam ipse, qualem § 150. descripsimus, dynamometria naturali, sed severa, § 457. cum considerata secundum § 667–677. materiae datae natura collatam. § 666, 622. Si quam vix agnoscit rem, ut primum iuxta stetit,
The cautious distributor of light and shade will, as far as he can, weigh 2) his own nature, as we described it in §150, by a natural but severe dynamometry, §457, compared with the nature of the given material considered according to §§667–677, §§666, 622. If he scarcely recognizes a thing when he first stands near it,
qualem primo quis surgere mense
Aut videt, aut vidisse putat per nubila lunam,
"As when, in her young month and crescent pale,
One sees th' o'er-clouded moon, or thinks he sees."
Aen. VI. 454.
eam numquam sibi leget, nec audebit exornare quam non posset, nisi fucis, illinere § 626. § 648. Praesertim hoc sibi dictum putet;
Aeneid VI.454, he will never choose it for himself, nor will he dare to adorn what he could only smear with false colorings, §§626, 648. Let him especially think this said to himself:
Ad pugnam qui rhetorica descendit ab umbra.
"He therefore that quits the shadowy conflicts of rhetoric for the arena of real debate,"
Iuv. VII. 173.
et suae nonnunquam artis topicis, argumentis, figuris, flosculis, chriis, periodis, e. c. adeo confidit, ut quamcunque materiam sibi temere sumens, vel incidat in battologiam § 639. notatam, vel in fucos umbratiles, § 109.
Juvenal VII.173, and sometimes trusts so much in the topics, arguments, figures, little flowers, chriae, periods, etc. of his art that, rashly taking up any material whatever, he falls either into the battology noted in §639 or into shadowy false colorings, §109.
Cautus lucis et umbrae dispensator
The cautious distributor of light and shade will,
pro virili perpendet 2) naturam
as far as he can, weigh 2) his own nature,
suam ipse, qualem § 150.
as we described it in §150,
descripsimus, dynamometria naturali, sed severa, § 457.
by a natural but severe dynamometry, §457,
cum considerata secundum § 667–677.
compared with the nature of the given material considered according to §§667–677,
materiae datae natura collatam. § 666, 622.
§§666, 622.
Si quam vix agnoscit rem, ut primum iuxta stetit,
If he scarcely recognizes a thing when he first stands near it,
qualem primo quis surgere mense
Aut videt, aut vidisse putat per nubila lunam,
"As when, in her young month and crescent pale,
One sees th' o'er-clouded moon, or thinks he sees."
Aen. VI. 454. eam numquam sibi
Aeneid VI.454, he will never choose it for himself,
leget, nec audebit exornare quam non posset,
nor will he dare to adorn what he could
nisi fucis, illinere § 626. § 648.
only smear with false colorings, §§626, 648.
Praesertim hoc sibi dictum putet;
Let him especially think this said to himself:
Ad pugnam qui rhetorica descendit ab umbra.
"He therefore that quits the shadowy conflicts of rhetoric for the arena of real debate,"
Iuv. VII. 173. et suae nonnunquam artis topicis,
Juvenal VII.173, and sometimes trusts so much in the topics,
argumentis, figuris, flosculis, chriis, periodis, e. c.
arguments, figures, little flowers, chriae, periods, etc. of
adeo confidit, ut quamcunque materiam sibi temere
his art that, rashly taking up any material whatever,
sumens, vel incidat in battologiam § 639.
he falls either into the battology noted in §639
notatam, vel in fucos umbratiles, § 109.
or into shadowy false colorings, §109.
Cautus lucis et umbrae dispensator pro virili perpendet 2) naturam suam ipse, qualem § 150. descripsimus, dynamometria naturali, sed severa, § 457. cum considerata secundum § 667–677. materiae datae natura collatam. § 666, 622. Si quam vix agnoscit rem, ut primum iuxta stetit, / The cautious distributor of light and shade will, as far as he can, weigh 2) his own nature, as we described it in §150, by a natural but severe dynamometry, §457, compared with the nature of the given material considered according to §§667–677, §§666, 622. If he scarcely recognizes a thing when he first stands near it,
qualem primo quis surgere mense
Aut videt, aut vidisse putat per nubila lunam,
"As when, in her young month and crescent pale,
One sees th' o'er-clouded moon, or thinks he sees."
Aen. VI. 454. eam numquam sibi leget, nec audebit exornare quam non posset, nisi fucis, illinere § 626. § 648. Praesertim hoc sibi dictum putet; / Aeneid VI.454, he will never choose it for himself, nor will he dare to adorn what he could only smear with false colorings, §§626, 648. Let him especially think this said to himself:
Ad pugnam qui rhetorica descendit ab umbra.
"He therefore that quits the shadowy conflicts of rhetoric for the arena of real debate,"
Iuv. VII. 173. et suae nonnunquam artis topicis, argumentis, figuris, flosculis, chriis, periodis, e. c. adeo confidit, ut quamcunque materiam sibi temere sumens, vel incidat in battologiam § 639. notatam, vel in fucos umbratiles, § 109. / Juvenal VII.173, and sometimes trusts so much in the topics, arguments, figures, little flowers, chriae, periods, etc. of his art that, rashly taking up any material whatever, he falls either into the battology noted in §639 or into shadowy false colorings, §109.
§ 679
Iustus lucis et umbrae dispensator ponderabit 3) naturam eorum, quorum potissimum in gratiam venuste cogitare decet et mens est. § 666, 623. Si vel maxime praeclarum in aestheticis ingenium
The just distributor of light and shade will weigh 3) the nature of those chiefly for whose sake it is fitting and intended to think gracefully, §§666, 623. Even if a talent most outstanding in aesthetic matters
Non sibi, sed toti genitum se credidit orbi;
"To risk his life, his all, as not for self
Brought into being, but for all the world:"
vix tamen inveniatur, quod omne genus mortalium sibi, pulcre cogitare dum volet, constituat obiectum personale, nullis inde praecipuis et propioribus lectis, vel minus animadvertendo, spectatoribus. Primae potius classis, inter venustos, auctores inscripserunt suos libros certis hominibus, ex quorum conditione metiri posses, quales ac quantos sibi lectores posuerint ob oculos, donec haec pulcra profecto consuetudo degeneravit in tritum dedicandi morem, ne dicam mercenarium. Quos sibi spectatores praesertim optat pulcre cogitaturus, horum naturam meditetur, uti suam, et materiae, easque comparatas inter se, quam fieri potest determinatissimis in circumstantibus et affectionibus, § 667, 678.
there will scarcely be found one that, when wishing to think beautifully, sets every kind of mortal as its personal object, with no principal and nearer spectators chosen or, through lesser attention, noticed. Rather, first-class authors among the graceful have inscribed their books to definite persons, from whose condition you could measure what kind and how great readers they placed before their eyes, until this truly beautiful custom degenerated into the worn-out practice of dedication, not to say a mercenary one. Whoever will think beautifully should meditate on the nature of the spectators he especially desires, as he does on his own and on that of the material, and on these compared with one another in circumstances and affections as determinate as possible, §§667, 678.
Iustus lucis et umbrae dispensator ponderabit 3) naturam eorum, quorum potissimum in gratiam venuste cogitare decet et mens est. § 666, 623. Si vel maxime praeclarum in aestheticis ingenium
The just distributor of light and shade will weigh 3) the nature of those chiefly for whose sake it is fitting and intended to think gracefully, §§666, 623. Even if a talent most outstanding in aesthetic matters
Non sibi, sed toti genitum se credidit orbi;
"To risk his life, his all, as not for self
Brought into being, but for all the world:"
vix tamen inveniatur, quod omne genus mortalium sibi, pulcre cogitare dum volet, constituat obiectum personale, nullis inde praecipuis et propioribus lectis, vel minus animadvertendo, spectatoribus.
there will scarcely be found one that, when wishing to think beautifully, sets every kind of mortal as its personal object, with no principal and nearer spectators chosen or, through lesser attention, noticed.
Primae potius classis, inter venustos, auctores inscripserunt suos libros certis hominibus, ex quorum conditione metiri posses, quales ac quantos sibi lectores posuerint ob oculos, donec haec pulcra profecto consuetudo degeneravit in tritum dedicandi morem, ne dicam mercenarium.
Rather, first-class authors among the graceful have inscribed their books to definite persons, from whose condition you could measure what kind and how great readers they placed before their eyes, until this truly beautiful custom degenerated into the worn-out practice of dedication, not to say a mercenary one.
Quos sibi spectatores praesertim optat pulcre cogitaturus, horum naturam meditetur, uti suam, et materiae, easque comparatas inter se, quam fieri potest determinatissimis in circumstantibus et affectionibus, § 667, 678.
Whoever will think beautifully should meditate on the nature of the spectators he especially desires, as he does on his own and on that of the material, and on these compared with one another in circumstances and affections as determinate as possible, §§667, 678.
Iustus lucis et umbrae dispensator ponderabit
The just distributor of light and shade will weigh
3) naturam eorum, quorum potissimum in gratiam venuste
3) the nature of those chiefly for whose sake
cogitare decet et mens est. § 666, 623.
it is fitting and intended to think gracefully, §§666, 623.
Si vel maxime praeclarum in aestheticis ingenium
Even if a talent most outstanding in aesthetic matters
Non sibi, sed toti genitum se credidit orbi;
"To risk his life, his all, as not for self
Brought into being, but for all the world:"
vix tamen inveniatur, quod omne genus mortalium sibi,
there will scarcely be found one that, when wishing to
pulcre cogitare dum volet, constituat obiectum personale,
think beautifully, sets every kind of mortal as its personal
nullis inde praecipuis et propioribus lectis, vel
object, with no principal and nearer spectators chosen or,
minus animadvertendo, spectatoribus.
through lesser attention, noticed.
Primae potius classis, inter venustos,
Rather, first-class authors among the graceful
auctores inscripserunt suos libros certis hominibus,
have inscribed their books to definite persons,
ex quorum conditione metiri posses,
from whose condition you could measure what
quales ac quantos sibi lectores posuerint ob oculos,
kind and how great readers they placed before their eyes,
donec haec pulcra profecto consuetudo degeneravit in tritum dedicandi
until this truly beautiful custom degenerated into the worn-out practice of dedication,
morem, ne dicam mercenarium.
not to say a mercenary one.
Quos sibi spectatores praesertim optat pulcre cogitaturus,
Whoever will think beautifully should meditate on
horum naturam meditetur,
the nature of the spectators he especially desires,
uti suam, et materiae,
as he does on his own and on that of the material,
easque comparatas inter se,
and on these compared with one another
quam fieri potest determinatissimis in circumstantibus et affectionibus,
in circumstances and affections
§ 667, 678.
as determinate as possible, §§667, 678.
Iustus lucis et umbrae dispensator ponderabit 3) naturam eorum, quorum potissimum in gratiam venuste cogitare decet et mens est. § 666, 623. Si vel maxime praeclarum in aestheticis ingenium / The just distributor of light and shade will weigh 3) the nature of those chiefly for whose sake it is fitting and intended to think gracefully, §§666, 623. Even if a talent most outstanding in aesthetic matters
Non sibi, sed toti genitum se credidit orbi;
"To risk his life, his all, as not for self
Brought into being, but for all the world:"
vix tamen inveniatur, quod omne genus mortalium sibi, pulcre cogitare dum volet, constituat obiectum personale, nullis inde praecipuis et propioribus lectis, vel minus animadvertendo, spectatoribus. / there will scarcely be found one that, when wishing to think beautifully, sets every kind of mortal as its personal object, with no principal and nearer spectators chosen or, through lesser attention, noticed.
Primae potius classis, inter venustos, auctores inscripserunt suos libros certis hominibus, ex quorum conditione metiri posses, quales ac quantos sibi lectores posuerint ob oculos, donec haec pulcra profecto consuetudo degeneravit in tritum dedicandi morem, ne dicam mercenarium. / Rather, first-class authors among the graceful have inscribed their books to definite persons, from whose condition you could measure what kind and how great readers they placed before their eyes, until this truly beautiful custom degenerated into the worn-out practice of dedication, not to say a mercenary one.
Quos sibi spectatores praesertim optat pulcre cogitaturus, horum naturam meditetur, uti suam, et materiae, easque comparatas inter se, quam fieri potest determinatissimis in circumstantibus et affectionibus, § 667, 678. / Whoever will think beautifully should meditate on the nature of the spectators he especially desires, as he does on his own and on that of the material, and on these compared with one another in circumstances and affections as determinate as possible, §§667, 678.
§ 680
Elegantiarum in cogitando studiosus, cui sinistra fortuna laborandum est, ut se miretur turba, non poterit eos omnino negligere, quibus flumen nescio quod, instar omnis perspicuitatis est, et, quaecunque significet, clarus tamen ac limpidus nominatur uno tenore
The student of elegances in thinking who, by adverse fortune, must labor so that the crowd marvels at him will not be able wholly to neglect those for whom some flow or other is the equivalent of all perspicuity, and who call "clear" and "limpid," whatever it may signify, a continuous speech in one tenor
Perpetuus sermo, nigrae noctis ad umbram
Aurorae perductus ab exoriente nitore,
Praesertim si cum summo est clamore profusus,
"May be withdrawn by steady talk, prolonged
Even from the rising splendour of the morn
To shadows of black evening,—above all
If 't be outpoured with most exceeding shouts."
Lucr. IIII. 540.
Quibus dum satisfacit, quantum ubertas materiae, S. VIIII. quantum ingenii flumen, S. XII. quantum latera pulmonesque permiserint; § 678. non tamen pulcre eorum oblivisceretur in populo, quos non tam nugae, canorae quidem, sed inopes rerum delectant, quam locis speciosa et recte morata, si vel maxime veneribus aliis, pondere ac arte, destituerentur, § 226. melius istos attendit simul in populo, qui horum omnium aliquid desiderant. § 434.
Lucretius IV.540. While he satisfies them as far as the richness of the material, Section IX, the flow of talent, Section XII, and his sides and lungs permit, §678, he nevertheless would not beautifully forget among the people those who are delighted not so much by trifles, though tuneful, yet poor in substance, as by things splendid in their places and rightly moral, even if they lacked other charms, weight, and art, §226. He better attends at the same time among the people to those who desire something of all these things, §434.
Elegantiarum in cogitando studiosus, cui sinistra fortuna laborandum est, ut se miretur turba, non poterit eos omnino negligere, quibus flumen nescio quod, instar omnis perspicuitatis est, et, quaecunque significet, clarus tamen ac limpidus nominatur uno tenore
The student of elegances in thinking who, by adverse fortune, must labor so that the crowd marvels at him will not be able wholly to neglect those for whom some flow or other is the equivalent of all perspicuity, and who call "clear" and "limpid," whatever it may signify, a continuous speech in one tenor
Perpetuus sermo, nigrae noctis ad umbram
Aurorae perductus ab exoriente nitore,
Praesertim si cum summo est clamore profusus,
"May be withdrawn by steady talk, prolonged
Even from the rising splendour of the morn
To shadows of black evening,—above all
If 't be outpoured with most exceeding shouts."
Lucr.
Lucretius IV.540.
IIII. 540.
Quibus dum satisfacit, quantum ubertas materiae, S. VIIII. quantum ingenii flumen, S. XII. quantum latera pulmonesque permiserint; § 678. non tamen pulcre eorum oblivisceretur in populo, quos non tam nugae, canorae quidem, sed inopes rerum delectant, quam locis speciosa et recte morata, si vel maxime veneribus aliis, pondere ac arte, destituerentur, § 226. melius istos attendit simul in populo, qui horum omnium aliquid desiderant. § 434.
While he satisfies them as far as the richness of the material, Section IX, the flow of talent, Section XII, and his sides and lungs permit, §678, he nevertheless would not beautifully forget among the people those who are delighted not so much by trifles, though tuneful, yet poor in substance, as by things splendid in their places and rightly moral, even if they lacked other charms, weight, and art, §226. He better attends at the same time among the people to those who desire something of all these things, §434.
Elegantiarum in cogitando studiosus, cui sinistra fortuna
The student of elegances in thinking who, by adverse fortune,
laborandum est, ut se miretur turba,
must labor so that the crowd marvels at him will
non poterit eos omnino negligere, quibus flumen nescio quod,
not be able wholly to neglect those for whom some
instar omnis perspicuitatis est,
flow or other is the equivalent of all perspicuity,
et, quaecunque significet, clarus tamen ac limpidus
and who call "clear" and "limpid,"
nominatur uno tenore
whatever it may signify, a continuous speech in one tenor
Perpetuus sermo, nigrae noctis ad umbram
Aurorae perductus ab exoriente nitore,
Praesertim si cum summo est clamore profusus,
"May be withdrawn by steady talk, prolonged
Even from the rising splendour of the morn
To shadows of black evening,—above all
If 't be outpoured with most exceeding shouts."
Lucr.
Lucretius IV.540.
IIII. 540. Quibus dum satisfacit,
While he satisfies them as far as
quantum ubertas materiae, S. VIIII.
the richness of the material, Section IX,
quantum ingenii flumen, S. XII.
the flow of talent, Section XII,
quantum latera pulmonesque permiserint; § 678.
and his sides and lungs permit, §678,
non tamen pulcre eorum oblivisceretur in populo,
he nevertheless would not beautifully forget among the people
quos non tam nugae, canorae
those who are delighted not so much by trifles,
quidem, sed inopes rerum delectant,
though tuneful, yet poor in substance, as
quam locis speciosa et recte morata,
by things splendid in their places and rightly moral,
si vel maxime veneribus aliis, pondere ac arte, destituerentur, § 226.
even if they lacked other charms, weight, and art, §226.
melius istos attendit simul in populo,
He better attends at the same time among the people
qui horum omnium aliquid desiderant. § 434.
to those who desire something of all these things, §434.
Elegantiarum in cogitando studiosus, cui sinistra fortuna laborandum est, ut se miretur turba, non poterit eos omnino negligere, quibus flumen nescio quod, instar omnis perspicuitatis est, et, quaecunque significet, clarus tamen ac limpidus nominatur uno tenore / The student of elegances in thinking who, by adverse fortune, must labor so that the crowd marvels at him will not be able wholly to neglect those for whom some flow or other is the equivalent of all perspicuity, and who call "clear" and "limpid," whatever it may signify, a continuous speech in one tenor
Perpetuus sermo, nigrae noctis ad umbram
Aurorae perductus ab exoriente nitore,
Praesertim si cum summo est clamore profusus,
"May be withdrawn by steady talk, prolonged
Even from the rising splendour of the morn
To shadows of black evening,—above all
If 't be outpoured with most exceeding shouts."
Lucr. / Lucretius IV.540.
IIII. 540. Quibus dum satisfacit, quantum ubertas materiae, S. VIIII. quantum ingenii flumen, S. XII. quantum latera pulmonesque permiserint; § 678. non tamen pulcre eorum oblivisceretur in populo, quos non tam nugae, canorae quidem, sed inopes rerum delectant, quam locis speciosa et recte morata, si vel maxime veneribus aliis, pondere ac arte, destituerentur, § 226. melius istos attendit simul in populo, qui horum omnium aliquid desiderant. § 434. / While he satisfies them as far as the richness of the material, Section IX, the flow of talent, Section XII, and his sides and lungs permit, §678, he nevertheless would not beautifully forget among the people those who are delighted not so much by trifles, though tuneful, yet poor in substance, as by things splendid in their places and rightly moral, even if they lacked other charms, weight, and art, §226. He better attends at the same time among the people to those who desire something of all these things, §434.
§ 681
Cui datur esse contentum paucis lectoribus, sed saporis etiam magis eruditi, § 275. horum naturam, captum, genium, consuetudines, anticipationes, eo curatius inquirat, ut, quoniam una res, diversis ex lateribus, diversae luci potest ab eiusdem satis gnaro exponi: ea potissimum rei facies, illique luci obvertatur, quam spectatoribus exspectes fore iucundissimam. Sic quaedam illustrationes aliquibus videbuntur tritae, ac proletariae, vel umbratiles et scholasticae, quae satis placerent aliis. Quaedam his exoptatissimae captum illorum transcenderent, et nitoris loco minarentur caliginem, e. g. ex antiquitatibus, certis historiis, vel interiori naturae contemplatione desumendae. § 679, 666.
One to whom it is granted to be content with few readers, but of more learned taste, §275, should inquire all the more carefully into their nature, capacity, genius, habits, and anticipations. Since one thing can be exposed by someone sufficiently knowledgeable from different sides to different light, that face of the thing should chiefly be turned toward that light which you expect will be most pleasant to the spectators. Thus some illustrations will seem worn out and plebeian, or shadowy and scholastic, to some, which would please others enough. Some illustrations most desired by these would transcend the capacity of those and threaten darkness in place of brightness, for example illustrations drawn from antiquities, definite histories, or the deeper contemplation of nature, §§679, 666.
Cui datur esse contentum paucis lectoribus, sed saporis etiam magis eruditi, § 275. horum naturam, captum, genium, consuetudines, anticipationes, eo curatius inquirat, ut, quoniam una res, diversis ex lateribus, diversae luci potest ab eiusdem satis gnaro exponi: ea potissimum rei facies, illique luci obvertatur, quam spectatoribus exspectes fore iucundissimam.
One to whom it is granted to be content with few readers, but of more learned taste, §275, should inquire all the more carefully into their nature, capacity, genius, habits, and anticipations. Since one thing can be exposed by someone sufficiently knowledgeable from different sides to different light, that face of the thing should chiefly be turned toward that light which you expect will be most pleasant to the spectators.
Sic quaedam illustrationes aliquibus videbuntur tritae, ac proletariae, vel umbratiles et scholasticae, quae satis placerent aliis.
Thus some illustrations will seem worn out and plebeian, or shadowy and scholastic, to some, which would please others enough.
Quaedam his exoptatissimae captum illorum transcenderent, et nitoris loco minarentur caliginem, e. g. ex antiquitatibus, certis historiis, vel interiori naturae contemplatione desumendae. § 679, 666.
Some illustrations most desired by these would transcend the capacity of those and threaten darkness in place of brightness, for example illustrations drawn from antiquities, definite histories, or the deeper contemplation of nature, §§679, 666.
Cui datur esse contentum paucis lectoribus,
One to whom it is granted to be content with few
sed saporis etiam magis eruditi, § 275.
readers, but of more learned taste, §275,
horum naturam,
should inquire all the more carefully into their nature,
captum, genium, consuetudines, anticipationes, eo curatius inquirat, ut,
capacity, genius, habits, and anticipations.
quoniam una res, diversis ex lateribus,
Since one thing can be exposed by someone sufficiently knowledgeable from different
diversae luci potest ab eiusdem satis gnaro exponi:
sides to different light, that face of the
ea potissimum rei facies, illique luci obvertatur,
thing should chiefly be turned toward that light
quam spectatoribus exspectes fore iucundissimam.
which you expect will be most pleasant to the spectators.
Sic quaedam illustrationes aliquibus videbuntur tritae, ac proletariae,
Thus some illustrations will seem worn out and plebeian,
vel umbratiles et scholasticae, quae satis placerent aliis.
or shadowy and scholastic, to some, which would please others enough.
Quaedam his exoptatissimae captum illorum transcenderent,
Some illustrations most desired by these would transcend
et nitoris loco minarentur caliginem, e.
the capacity of those and threaten darkness in place of brightness, for
g. ex antiquitatibus, certis historiis, vel interiori naturae contemplatione desumendae.
example illustrations drawn from antiquities, definite histories, or the deeper contemplation of
§ 679, 666.
nature, §§679, 666.
Cui datur esse contentum paucis lectoribus, sed saporis etiam magis eruditi, § 275. horum naturam, captum, genium, consuetudines, anticipationes, eo curatius inquirat, ut, quoniam una res, diversis ex lateribus, diversae luci potest ab eiusdem satis gnaro exponi: ea potissimum rei facies, illique luci obvertatur, quam spectatoribus exspectes fore iucundissimam. / One to whom it is granted to be content with few readers, but of more learned taste, §275, should inquire all the more carefully into their nature, capacity, genius, habits, and anticipations. Since one thing can be exposed by someone sufficiently knowledgeable from different sides to different light, that face of the thing should chiefly be turned toward that light which you expect will be most pleasant to the spectators.
Sic quaedam illustrationes aliquibus videbuntur tritae, ac proletariae, vel umbratiles et scholasticae, quae satis placerent aliis. / Thus some illustrations will seem worn out and plebeian, or shadowy and scholastic, to some, which would please others enough.
Quaedam his exoptatissimae captum illorum transcenderent, et nitoris loco minarentur caliginem, e. g. ex antiquitatibus, certis historiis, vel interiori naturae contemplatione desumendae. § 679, 666. / Some illustrations most desired by these would transcend the capacity of those and threaten darkness in place of brightness, for example illustrations drawn from antiquities, definite histories, or the deeper contemplation of nature, §§679, 666.
§ 682
Iustus lucis et umbrae dispensator per pulcram meditationem II. singulis eius partibus tantum umbrae vel lucis affundet, quantum requiritur, ut principales minus principalium non obscurentur luce, sed umbra collustrentur. § 666, 667. Haec est una ex principibus lucidae methodi regulis, quando ad huius tractationem deveniemus, uberius exponenda. § 13. Nunc eiusdem generali quadam idea contenti sumus, secundum quam e. g. 1) partem aliquam ex principalibus si iustus, quem quaerimus, dispensator, pulcriori luce perfudit, iamque timendum est, ne fatigatus spectatoris oculus caliget hinc immediate traducendus ad aliam potiorem adhuc, adeoque, maiore splendore dignam; imitator naturae sciat prioris partis
The just distributor of light and shade, through a beautiful meditation, II) will pour onto its individual parts only so much shade or light as is required so that principal parts are not obscured by the light of less principal parts, but illuminated by shade, §§666–667. This is one of the chief rules of lucid method, to be expounded more fully when we come to its treatment, §13. For now we are content with a certain general idea of it. According to this idea, for example, 1) if the just distributor we seek has poured a more beautiful light over some principal part, and now there is fear that the spectator's fatigued eye will grow dark when it must be led immediately from here to another still more important part, and therefore one worthy of greater splendor, the imitator of nature should know how, for the prior part,
Aestibus in mediis, umbrosam exquirere vallem,
Sicubi magna Iovis antiquo robore quercus
Ingentis tendat ramos, aut sicubi nigrum
Ilicibus crebris sacra nemus accubet umbra,
"But at day's hottest seek a shadowy vale,
Where some vast ancient-timbered oak of Jove
Spreads his huge branches, or where huddling black
Ilex on ilex cowers in awful shade."
Georg. III. v. 330.
quia recreatus ipse cum suis ad novam lucem prodeat, § 637. Aeneidos l. V. est hanc ob caussam interiecta umbra libris quarto et sexto. § 634, 635.
Georgics III.330, so that he himself, refreshed with his audience, may come forth to a new light, §637. For this reason Book V of the Aeneid is an inserted shade between the fourth and sixth books, §§634–635.
Iustus lucis et umbrae dispensator per pulcram meditationem II. singulis eius partibus tantum umbrae vel lucis affundet, quantum requiritur, ut principales minus principalium non obscurentur luce, sed umbra collustrentur. § 666, 667. Haec est una ex principibus lucidae methodi regulis, quando ad huius tractationem deveniemus, uberius exponenda. § 13. Nunc eiusdem generali quadam idea contenti sumus, secundum quam e. g. 1) partem aliquam ex principalibus si iustus, quem quaerimus, dispensator, pulcriori luce perfudit, iamque timendum est, ne fatigatus spectatoris oculus caliget hinc immediate traducendus ad aliam potiorem adhuc, adeoque, maiore splendore dignam; imitator naturae sciat prioris partis
The just distributor of light and shade, through a beautiful meditation, II) will pour onto its individual parts only so much shade or light as is required so that principal parts are not obscured by the light of less principal parts, but illuminated by shade, §§666–667. This is one of the chief rules of lucid method, to be expounded more fully when we come to its treatment, §13. For now we are content with a certain general idea of it. According to this idea, for example, 1) if the just distributor we seek has poured a more beautiful light over some principal part, and now there is fear that the spectator's fatigued eye will grow dark when it must be led immediately from here to another still more important part, and therefore one worthy of greater splendor, the imitator of nature should know how, for the prior part,
Aestibus in mediis, umbrosam exquirere vallem,
Sicubi magna Iovis antiquo robore quercus
Ingentis tendat ramos, aut sicubi nigrum
Ilicibus crebris sacra nemus accubet umbra,
"But at day's hottest seek a shadowy vale,
Where some vast ancient-timbered oak of Jove
Spreads his huge branches, or where huddling black
Ilex on ilex cowers in awful shade."
Georg. III. v. 330.
quia recreatus ipse cum suis ad novam lucem prodeat, § 637. Aeneidos l. V. est hanc ob caussam interiecta umbra libris quarto et sexto. § 634, 635.
Georgics III.330, so that he himself, refreshed with his audience, may come forth to a new light, §637. For this reason Book V of the Aeneid is an inserted shade between the fourth and sixth books, §§634–635.
Iustus lucis et umbrae dispensator
The just distributor of light and shade,
per pulcram meditationem II. singulis
through a beautiful meditation, II) will pour onto its
eius partibus tantum umbrae vel lucis affundet,
individual parts only so much shade or light as
quantum requiritur, ut principales minus principalium non obscurentur
is required so that principal parts are not obscured
luce, sed umbra collustrentur.
by the light of less principal parts, but illuminated by
§ 666, 667. Haec est una ex principibus lucidae methodi
shade, §§666–667. This is one of the chief rules of lucid method,
regulis, quando ad huius tractationem deveniemus, uberius exponenda.
to be expounded
§ 13.
more fully when we come to its treatment, §13.
Nunc eiusdem generali
For now we are content with a certain general
quadam idea contenti sumus, secundum quam e.
idea of it. According to this idea, for example,
g. 1) partem aliquam ex principalibus si
1) if the just
iustus,
distributor we seek has poured a more beautiful
quem quaerimus, dispensator, pulcriori luce perfudit, iamque timendum est,
light over some principal part, and now there is
ne fatigatus spectatoris
fear that the spectator's fatigued eye will grow dark
oculus caliget hinc immediate traducendus ad aliam potiorem adhuc,
when it must be led immediately from here to another still
adeoque, maiore splendore dignam;
more important part, and therefore one worthy of greater splendor, the
imitator naturae sciat prioris partis
imitator of nature should know how, for the prior part,
Aestibus in mediis, umbrosam exquirere vallem,
Sicubi magna Iovis antiquo robore quercus
Ingentis tendat ramos, aut sicubi nigrum
Ilicibus crebris sacra nemus accubet umbra,
"But at day's hottest seek a shadowy vale,
Where some vast ancient-timbered oak of Jove
Spreads his huge branches, or where huddling black
Ilex on ilex cowers in awful shade."
Georg. III. v. 330. quia recreatus ipse cum
Georgics III.330, so that he himself, refreshed with his audience,
suis ad novam lucem prodeat, § 637.
may come forth to a new light, §637.
Aeneidos l. V. est
For this reason Book V of the Aeneid is
hanc ob caussam interiecta umbra libris quarto et sexto. § 634, 635.
an inserted shade between the fourth and sixth books, §§634–635.
Iustus lucis et umbrae dispensator per pulcram meditationem II. singulis eius partibus tantum umbrae vel lucis affundet, quantum requiritur, ut principales minus principalium non obscurentur luce, sed umbra collustrentur. § 666, 667. Haec est una ex principibus lucidae methodi regulis, quando ad huius tractationem deveniemus, uberius exponenda. § 13. Nunc eiusdem generali quadam idea contenti sumus, secundum quam e. g. 1) partem aliquam ex principalibus si iustus, quem quaerimus, dispensator, pulcriori luce perfudit, iamque timendum est, ne fatigatus spectatoris oculus caliget hinc immediate traducendus ad aliam potiorem adhuc, adeoque, maiore splendore dignam; imitator naturae sciat prioris partis / The just distributor of light and shade, through a beautiful meditation, II) will pour onto its individual parts only so much shade or light as is required so that principal parts are not obscured by the light of less principal parts, but illuminated by shade, §§666–667. This is one of the chief rules of lucid method, to be expounded more fully when we come to its treatment, §13. For now we are content with a certain general idea of it. According to this idea, for example, 1) if the just distributor we seek has poured a more beautiful light over some principal part, and now there is fear that the spectator's fatigued eye will grow dark when it must be led immediately from here to another still more important part, and therefore one worthy of greater splendor, the imitator of nature should know how, for the prior part,
Aestibus in mediis, umbrosam exquirere vallem,
Sicubi magna Iovis antiquo robore quercus
Ingentis tendat ramos, aut sicubi nigrum
Ilicibus crebris sacra nemus accubet umbra,
"But at day's hottest seek a shadowy vale,
Where some vast ancient-timbered oak of Jove
Spreads his huge branches, or where huddling black
Ilex on ilex cowers in awful shade."
Georg. III. v. 330. quia recreatus ipse cum suis ad novam lucem prodeat, § 637. Aeneidos l. V. est hanc ob caussam interiecta umbra libris quarto et sexto. § 634, 635. / Georgics III.330, so that he himself, refreshed with his audience, may come forth to a new light, §637. For this reason Book V of the Aeneid is an inserted shade between the fourth and sixth books, §§634–635.
§ 683
2) Quo propius abest a parte totius suae meditationis primaria, hinc summam lucem postulante cautus imitator naturae, de quo loquimur, hoc magis umbra contrahit, quemadmodum minimas meridies habet, 3) si devenerit in eas partes, in quibus vel singularis dignitas magnanimiter, vel evidentior persuasio solidius, vel vehementior animi motus ardenter exprimendus est, sane, non perdet otium pingentibus tantum
2) The nearer the cautious imitator of nature of whom we speak is to a primary part of his whole meditation, and therefore to one demanding the greatest light, the more he contracts shade, just as midday has the smallest shadows. 3) If he has come to those parts in which either singular dignity must be expressed magnanimously, or more evident persuasion more solidly, or a more vehement movement of the soul more ardently, he certainly will not waste leisure merely painting
Spargere humum foliis, inducere fontibus umbram,
"Now, O ye shepherds, strew the ground with leaves,
and o'er the fountains draw a shady veil—"
§ 670, 677. ante quam autem ad has fortiores decertationes deventum est, aut, ubi pulcer ordo maioribus earum vocibus, veluti per concentus musicos, alicuius intervalli silentium imposuit § 682. tunc ille meminit Veneris, § 665.
§§670, 677. But before these stronger contests have been reached, or where beautiful order, as if through musical harmonies, has imposed an interval of silence on their greater voices, §682, then he remembers Venus, §665,
assuetae semper in umbra
Indulgere sibi, formamque augere colendo,
"And in the shadowe woont shee was to rest continually,
And for to set her beawtye out most seemely to the eye
By trimly decking of her self."
Ov. Met. X. 534.
Ovid, Metamorphoses X.534.
2) Quo propius abest a parte totius suae meditationis primaria, hinc summam lucem postulante cautus imitator naturae, de quo loquimur, hoc magis umbra contrahit, quemadmodum minimas meridies habet, 3) si devenerit in eas partes, in quibus vel singularis dignitas magnanimiter, vel evidentior persuasio solidius, vel vehementior animi motus ardenter exprimendus est, sane, non perdet otium pingentibus tantum
2) The nearer the cautious imitator of nature of whom we speak is to a primary part of his whole meditation, and therefore to one demanding the greatest light, the more he contracts shade, just as midday has the smallest shadows. 3) If he has come to those parts in which either singular dignity must be expressed magnanimously, or more evident persuasion more solidly, or a more vehement movement of the soul more ardently, he certainly will not waste leisure merely painting
Spargere humum foliis, inducere fontibus umbram,
"Now, O ye shepherds, strew the ground with leaves,
and o'er the fountains draw a shady veil—"
§ 670, 677. ante quam autem ad has fortiores decertationes deventum est, aut, ubi pulcer ordo maioribus earum vocibus, veluti per concentus musicos, alicuius intervalli silentium imposuit § 682. tunc ille meminit Veneris, § 665.
§§670, 677. But before these stronger contests have been reached, or where beautiful order, as if through musical harmonies, has imposed an interval of silence on their greater voices, §682, then he remembers Venus, §665,
assuetae semper in umbra
Indulgere sibi, formamque augere colendo,
"And in the shadowe woont shee was to rest continually,
And for to set her beawtye out most seemely to the eye
By trimly decking of her self."
Ov. Met. X. 534.
Ovid, Metamorphoses X.534.
2) Quo propius abest
2) The nearer the cautious imitator of nature of
a parte totius suae meditationis
whom we speak is to a primary part of his whole meditation,
primaria, hinc summam lucem postulante cautus imitator naturae,
and therefore to one demanding
de quo loquimur, hoc magis umbra contrahit,
the greatest light, the more he contracts shade,
quemadmodum minimas meridies habet,
just as midday has the smallest shadows.
3) si devenerit in eas partes,
3) If he has come to those parts
in quibus vel singularis dignitas magnanimiter,
in which either singular dignity must be expressed magnanimously,
vel evidentior persuasio solidius,
or more evident persuasion more solidly,
vel vehementior animi motus ardenter
or a more vehement movement of the soul more ardently,
exprimendus est, sane, non perdet otium pingentibus tantum
he certainly will not waste leisure merely painting
Spargere humum foliis, inducere fontibus umbram,
"Now, O ye shepherds, strew the ground with leaves,
and o'er the fountains draw a shady veil—"
§ 670, 677. ante quam autem ad has fortiores decertationes deventum
§§670, 677. But before these stronger contests have been reached,
est, aut, ubi pulcer ordo maioribus earum vocibus,
or where beautiful order, as if
veluti per concentus musicos, alicuius intervalli
through musical harmonies, has imposed an interval
silentium imposuit § 682. tunc ille meminit Veneris, § 665.
of silence on their greater voices, §682, then he remembers Venus, §665,
assuetae semper in umbra
Indulgere sibi, formamque augere colendo,
"And in the shadowe woont shee was to rest continually,
And for to set her beawtye out most seemely to the eye
By trimly decking of her self."
Ov. Met. X. 534.
Ovid, Metamorphoses X.534.
2) Quo propius abest a parte totius suae meditationis primaria, hinc summam lucem postulante cautus imitator naturae, de quo loquimur, hoc magis umbra contrahit, quemadmodum minimas meridies habet, 3) si devenerit in eas partes, in quibus vel singularis dignitas magnanimiter, vel evidentior persuasio solidius, vel vehementior animi motus ardenter exprimendus est, sane, non perdet otium pingentibus tantum / 2) The nearer the cautious imitator of nature of whom we speak is to a primary part of his whole meditation, and therefore to one demanding the greatest light, the more he contracts shade, just as midday has the smallest shadows. 3) If he has come to those parts in which either singular dignity must be expressed magnanimously, or more evident persuasion more solidly, or a more vehement movement of the soul more ardently, he certainly will not waste leisure merely painting
Spargere humum foliis, inducere fontibus umbram,
"Now, O ye shepherds, strew the ground with leaves,
and o'er the fountains draw a shady veil—"
§ 670, 677. ante quam autem ad has fortiores decertationes deventum est, aut, ubi pulcer ordo maioribus earum vocibus, veluti per concentus musicos, alicuius intervalli silentium imposuit § 682. tunc ille meminit Veneris, § 665. / §§670, 677. But before these stronger contests have been reached, or where beautiful order, as if through musical harmonies, has imposed an interval of silence on their greater voices, §682, then he remembers Venus, §665,
assuetae semper in umbra
Indulgere sibi, formamque augere colendo,
"And in the shadowe woont shee was to rest continually,
And for to set her beawtye out most seemely to the eye
By trimly decking of her self."
Ov. Met. X. 534. / Ovid, Metamorphoses X.534.
§ 684
Iustus lucis et umbrae dispensator 4) iam etiam perspicuitatis caussa tenebitur nullam rem temere cogitare, velut abstractissimam et minime determinatam, quam non solum interne determinatiorem licet animo formare, sed etiam umbra quadam comitari; § 440. Pulcre, Maecenas si sistendus est, adducit quasdam umbras, uti apud Horatium serm. II. 8, 21.
The just distributor of light and shade 4) will now also, for the sake of perspicuity, be bound not to think any thing rashly as if it were most abstract and least determinate when it is permissible not only to form it more determinately within the mind, but also to accompany it with a certain shade, §440. Beautifully, if Maecenas is to be presented, Horace introduces certain "shades" in Satires II.8.21,
cum Servilio Balatrone
Vibidium.
"with Servilius Balatro, Vibidius, whom Maecenas had brought along with him, unbidden guests."
Pulcre virtus si pingitur, eam, tanquam umbra, sequatur gloria, etsi haec nihil in se habet, cur expetatur. § 212.
Beautifully, if virtue is painted, let glory follow it as a shade, even if glory has nothing in itself for which it should be sought, §212.
Totus hic locus si contemnendus est in nobis, non est negligendus in nostris.
All that has been said of burying, is not worth our regard with respect to ourselves, though it is not to be neglected as to our friends, provided we are thoroughly aware that the dead are insensible;,
Cic. tusc. quaest. I. 15. Ne turpis quidem Canidia Horatio est sine umbrarum magna comitante caterva. § 676.
Cicero, Tusculan Disputations I.15. Not even ugly Canidia is without a great accompanying crowd of shades in Horace, §676:
Singula quid memorem? quo pacto alterna loquentes
Umbrae cum Sagana resonarint triste et acutum?
"Why should I mention every particular? viz. in what manner, speaking alternately with Sagana, the ghosts uttered dismal and piercing shrieks;"
Hor. Serm. I. 8. 40.
Haec iusta lucis et umbrae dispensatio non est unum ex primis et facillimis artificium; sicuti nec fuit in pictura, nec esse quotidianis adhuc documentis comprobatur. § 666, 682.
Horace, Satires I.8.40. This just distribution of light and shade is not one of the first and easiest arts; just as it was not in painting, and is still proved not to be so by daily examples, §§666, 682.
Iustus lucis et umbrae dispensator 4) iam etiam perspicuitatis caussa tenebitur nullam rem temere cogitare, velut abstractissimam et minime determinatam, quam non solum interne determinatiorem licet animo formare, sed etiam umbra quadam comitari; § 440. Pulcre, Maecenas si sistendus est, adducit quasdam umbras, uti apud Horatium serm. II. 8, 21.
The just distributor of light and shade 4) will now also, for the sake of perspicuity, be bound not to think any thing rashly as if it were most abstract and least determinate when it is permissible not only to form it more determinately within the mind, but also to accompany it with a certain shade, §440. Beautifully, if Maecenas is to be presented, Horace introduces certain "shades" in Satires II.8.21,
cum Servilio Balatrone
Vibidium.
"with Servilius Balatro, Vibidius, whom Maecenas had brought along with him, unbidden guests."
Pulcre virtus si pingitur, eam, tanquam umbra, sequatur gloria, etsi haec nihil in se habet, cur expetatur. § 212.
Beautifully, if virtue is painted, let glory follow it as a shade, even if glory has nothing in itself for which it should be sought, §212.
Totus hic locus si contemnendus est in nobis, non est negligendus in nostris.
All that has been said of burying, is not worth our regard with respect to ourselves, though it is not to be neglected as to our friends, provided we are thoroughly aware that the dead are insensible;,
Cic. tusc. quaest.
Cicero, Tusculan Disputations I.15.
I. 15. Ne turpis quidem Canidia Horatio est sine umbrarum magna comitante caterva. § 676.
Not even ugly Canidia is without a great accompanying crowd of shades in Horace, §676:
Singula quid memorem? quo pacto alterna loquentes
Umbrae cum Sagana resonarint triste et acutum?
"Why should I mention every particular? viz. in what manner, speaking alternately with Sagana, the ghosts uttered dismal and piercing shrieks;"
Hor. Serm.
Horace, Satires I.8.40.
I. 8. 40.
Haec iusta lucis et umbrae dispensatio non est unum ex primis et facillimis artificium; sicuti nec fuit in pictura, nec esse quotidianis adhuc documentis comprobatur. § 666, 682.
This just distribution of light and shade is not one of the first and easiest arts; just as it was not in painting, and is still proved not to be so by daily examples, §§666, 682.
Iustus lucis et umbrae dispensator 4) iam etiam
The just distributor of light and shade 4) will now also,
perspicuitatis caussa tenebitur nullam rem temere cogitare,
for the sake of perspicuity, be bound not to think any
velut abstractissimam et minime determinatam,
thing rashly as if it were most abstract and least determinate
quam non solum interne
when it is permissible not only to form it
determinatiorem licet animo formare, sed etiam umbra quadam comitari;
more determinately within the mind, but also to accompany it
§ 440. Pulcre, Maecenas si sistendus est,
with a certain shade, §440. Beautifully, if Maecenas is
adducit quasdam umbras, uti apud Horatium serm. II. 8, 21.
to be presented, Horace introduces certain "shades" in Satires II.8.21,
cum Servilio Balatrone
Vibidium.
"with Servilius Balatro, Vibidius, whom Maecenas had brought along with him, unbidden guests."
Pulcre virtus si pingitur, eam,
Beautifully, if virtue is painted, let glory follow it
tanquam umbra, sequatur gloria,
as a shade, even if glory
etsi haec nihil in se habet, cur expetatur. § 212.
has nothing in itself for which it should be sought, §212.
Totus hic locus si contemnendus est in nobis, non est negligendus in nostris.
All that has been said of burying, is not worth our regard with respect to ourselves, though it is not to be neglected as to our friends, provided we are thoroughly aware that the dead are insensible;,
Cic. tusc. quaest.
Cicero, Tusculan Disputations I.15.
I. 15. Ne turpis quidem Canidia Horatio est sine
Not even ugly Canidia is without
umbrarum magna comitante caterva. § 676.
a great accompanying crowd of shades in Horace, §676:
Singula quid memorem? quo pacto alterna loquentes
Umbrae cum Sagana resonarint triste et acutum?
"Why should I mention every particular? viz. in what manner, speaking alternately with Sagana, the ghosts uttered dismal and piercing shrieks;"
Hor. Serm.
Horace, Satires I.8.40.
I. 8. 40. Haec iusta lucis et
This just distribution of light and
umbrae dispensatio non est unum ex primis et
shade is not one of the first and easiest arts;
facillimis artificium; sicuti nec fuit in pictura,
just as it was not in painting, and is still
nec esse quotidianis adhuc documentis comprobatur. § 666, 682.
proved not to be so by daily examples, §§666, 682.
Iustus lucis et umbrae dispensator 4) iam etiam perspicuitatis caussa tenebitur nullam rem temere cogitare, velut abstractissimam et minime determinatam, quam non solum interne determinatiorem licet animo formare, sed etiam umbra quadam comitari; § 440. Pulcre, Maecenas si sistendus est, adducit quasdam umbras, uti apud Horatium serm. II. 8, 21. / The just distributor of light and shade 4) will now also, for the sake of perspicuity, be bound not to think any thing rashly as if it were most abstract and least determinate when it is permissible not only to form it more determinately within the mind, but also to accompany it with a certain shade, §440. Beautifully, if Maecenas is to be presented, Horace introduces certain "shades" in Satires II.8.21,
cum Servilio Balatrone
Vibidium.
"with Servilius Balatro, Vibidius, whom Maecenas had brought along with him, unbidden guests."
Pulcre virtus si pingitur, eam, tanquam umbra, sequatur gloria, etsi haec nihil in se habet, cur expetatur. § 212. / Beautifully, if virtue is painted, let glory follow it as a shade, even if glory has nothing in itself for which it should be sought, §212.
Totus hic locus si contemnendus est in nobis, non est negligendus in nostris.
All that has been said of burying, is not worth our regard with respect to ourselves, though it is not to be neglected as to our friends, provided we are thoroughly aware that the dead are insensible;,
Cic. tusc. quaest. / Cicero, Tusculan Disputations I.15.
I. 15. Ne turpis quidem Canidia Horatio est sine umbrarum magna comitante caterva. § 676. / Not even ugly Canidia is without a great accompanying crowd of shades in Horace, §676:
Singula quid memorem? quo pacto alterna loquentes
Umbrae cum Sagana resonarint triste et acutum?
"Why should I mention every particular? viz. in what manner, speaking alternately with Sagana, the ghosts uttered dismal and piercing shrieks;"
Hor. Serm. / Horace, Satires I.8.40.
I. 8. 40. Haec iusta lucis et umbrae dispensatio non est unum ex primis et facillimis artificium; sicuti nec fuit in pictura, nec esse quotidianis adhuc documentis comprobatur. § 666, 682. / This just distribution of light and shade is not one of the first and easiest arts; just as it was not in painting, and is still proved not to be so by daily examples, §§666, 682.
§ 685
Prima non erat pictura, nisi quae lineas modo extremas umbrae, quam corpora in sole fecissent, circumscriberet,
We should still be sailing on rafts, and the art of painting would be restricted to tracing a line round a shadow thrown in the sunlight.,
Quint. X. 2.
Quintilian X.2.
Secundam affirmant esse, singulis coloribus, et monochromaton dictam, postquam operosior inventa erat.
The first stage of the art, they say, was this, the second stage being the employment of single colours; a process known as "monochromaton," after it had become more complicated, and which is still in use at the present day.,
Plin. hist. nat. XXXV. 3.
Pliny, Natural History XXXV.3.
Tandem se ars ipsa distinxit, et invenit lumen atque umbras, differentia colorum alterna vice sese excitante. Deinde adiectus est splendor, alius hic, quam lumen, quem quia inter hoc et umbram esset, appellaverunt tonon.
The art of painting at last became developed, in the invention of light and shade, the alternating contrast of the colours serving to heighten the effect of each. At a later period, again, lustre was added, a thing altogether different from light. The gradation between lustre and light on the one hand and shade on the other, was called "tonos;",
C. 5.
chapter 5.
Prima non erat pictura, nisi quae lineas modo extremas umbrae, quam corpora in sole fecissent, circumscriberet,
We should still be sailing on rafts, and the art of painting would be restricted to tracing a line round a shadow thrown in the sunlight.,
Quint. X. 2.
Quintilian X.2.
Secundam affirmant esse, singulis coloribus, et monochromaton dictam, postquam operosior inventa erat.
The first stage of the art, they say, was this, the second stage being the employment of single colours; a process known as "monochromaton," after it had become more complicated, and which is still in use at the present day.,
Plin. hist. nat. XXXV. 3.
Pliny, Natural History XXXV.3.
Tandem se ars ipsa distinxit, et invenit lumen atque umbras, differentia colorum alterna vice sese excitante. Deinde adiectus est splendor, alius hic, quam lumen, quem quia inter hoc et umbram esset, appellaverunt tonon.
The art of painting at last became developed, in the invention of light and shade, the alternating contrast of the colours serving to heighten the effect of each. At a later period, again, lustre was added, a thing altogether different from light. The gradation between lustre and light on the one hand and shade on the other, was called "tonos;",
C. 5.
chapter 5.
Prima non erat pictura, nisi quae lineas modo extremas umbrae, quam corpora in sole fecissent, circumscriberet,
We should still be sailing on rafts, and the art of painting would be restricted to tracing a line round a shadow thrown in the sunlight.,
Quint. X. 2.
Quintilian X.2.
Secundam affirmant esse, singulis coloribus, et monochromaton dictam, postquam operosior inventa erat.
The first stage of the art, they say, was this, the second stage being the employment of single colours; a process known as "monochromaton," after it had become more complicated, and which is still in use at the present day.,
Plin. hist. nat. XXXV. 3.
Pliny, Natural History XXXV.3.
Tandem se ars ipsa distinxit, et invenit lumen atque umbras, differentia colorum alterna vice sese excitante. Deinde adiectus est splendor, alius hic, quam lumen, quem quia inter hoc et umbram esset, appellaverunt tonon.
The art of painting at last became developed, in the invention of light and shade, the alternating contrast of the colours serving to heighten the effect of each. At a later period, again, lustre was added, a thing altogether different from light. The gradation between lustre and light on the one hand and shade on the other, was called "tonos;",
C. 5.
chapter 5.
Prima non erat pictura, nisi quae lineas modo extremas umbrae, quam corpora in sole fecissent, circumscriberet,
We should still be sailing on rafts, and the art of painting would be restricted to tracing a line round a shadow thrown in the sunlight.,
Quint. X. 2. / Quintilian X.2.
Secundam affirmant esse, singulis coloribus, et monochromaton dictam, postquam operosior inventa erat.
The first stage of the art, they say, was this, the second stage being the employment of single colours; a process known as "monochromaton," after it had become more complicated, and which is still in use at the present day.,
Plin. hist. nat. XXXV. 3. / Pliny, Natural History XXXV.3.
Tandem se ars ipsa distinxit, et invenit lumen atque umbras, differentia colorum alterna vice sese excitante. Deinde adiectus est splendor, alius hic, quam lumen, quem quia inter hoc et umbram esset, appellaverunt tonon.
The art of painting at last became developed, in the invention of light and shade, the alternating contrast of the colours serving to heighten the effect of each. At a later period, again, lustre was added, a thing altogether different from light. The gradation between lustre and light on the one hand and shade on the other, was called "tonos;",
C. 5. / chapter 5.
§ 686
Pars imaginis clarissima lumen, obscurissima umbra dicitur per eminentiam, inter has cauta dispensatione, quam hucusque commendavimus, nascitur splendor ille, qui TONUS dicitur. § 685. Sic hoc idem, quod est in naturis rerum,
The clearest part of an image is called light, the darkest shade, by eminence; between these, by the cautious distribution commended thus far, that splendor is born which is called TONE, §685. Thus this same thing which exists in the natures of things
transferri potest etiam ad artes,
But the same observation which is to be made in regard to nature may be applied also to the different kinds of art.,
e. g.
for example
fingendi, picturae, et, si hoc in his quasi mutis artibus est mirandum, et tamen verum, quanto admirabilius in oratione atque in lingua?
Sculpture is a single art, in which Myron, Polyclitus, and Lysippus excelled; all of whom differed one from another, but so that you would not wish any one of them to be unlike himself. The art and science of painting is one, yet Zeuxis, Aglaophon, and Apelles are quite unlike one another in themselves, though to none of them does anything seem lacking in his particular style. And if this be wonderful, and yet true, in these, as it were, mute arts, how much more wonderful is it in language and speech?
Cic. de or. III. 26. Habet illa
Cicero, De oratore III.26. That highest praise and admiration in speaking has
in dicendo summa laus ac admiratio umbram aliquam et recessum, quo magis id, quod illuminatum est, exstare atque eminere videatur.
But this high excellence and merit in speaking should be accompanied by some portions of shade and dimness, so that the part on which a stronger light is thrown may seem to stand out, and become more prominent..
Pars imaginis clarissima lumen, obscurissima umbra dicitur per eminentiam, inter has cauta dispensatione, quam hucusque commendavimus, nascitur splendor ille, qui TONUS dicitur. § 685. Sic hoc idem, quod est in naturis rerum,
The clearest part of an image is called light, the darkest shade, by eminence; between these, by the cautious distribution commended thus far, that splendor is born which is called TONE, §685. Thus this same thing which exists in the natures of things
transferri potest etiam ad artes,
But the same observation which is to be made in regard to nature may be applied also to the different kinds of art.,
e. g.
for example
fingendi, picturae, et, si hoc in his quasi mutis artibus est mirandum, et tamen verum, quanto admirabilius in oratione atque in lingua?
Sculpture is a single art, in which Myron, Polyclitus, and Lysippus excelled; all of whom differed one from another, but so that you would not wish any one of them to be unlike himself. The art and science of painting is one, yet Zeuxis, Aglaophon, and Apelles are quite unlike one another in themselves, though to none of them does anything seem lacking in his particular style. And if this be wonderful, and yet true, in these, as it were, mute arts, how much more wonderful is it in language and speech?
Cic. de or. III. 26. Habet illa
Cicero, De oratore III.26. That highest praise and admiration in speaking has
in dicendo summa laus ac admiratio umbram aliquam et recessum, quo magis id, quod illuminatum est, exstare atque eminere videatur.
But this high excellence and merit in speaking should be accompanied by some portions of shade and dimness, so that the part on which a stronger light is thrown may seem to stand out, and become more prominent..
Pars imaginis clarissima lumen, obscurissima umbra
The clearest part of an image is called light,
dicitur per eminentiam, inter has cauta dispensatione,
the darkest shade, by eminence; between these, by the
quam hucusque commendavimus, nascitur splendor ille,
cautious distribution commended thus far, that splendor is
qui TONUS dicitur. § 685.
born which is called TONE, §685.
Sic hoc idem, quod est in naturis rerum,
Thus this same thing which exists in the natures of things
transferri potest etiam ad artes,
But the same observation which is to be made in regard to nature may be applied also to the different kinds of art.,
e. g.
for example
fingendi, picturae, et, si hoc in his quasi mutis artibus est mirandum, et tamen verum, quanto admirabilius in oratione atque in lingua?
Sculpture is a single art, in which Myron, Polyclitus, and Lysippus excelled; all of whom differed one from another, but so that you would not wish any one of them to be unlike himself. The art and science of painting is one, yet Zeuxis, Aglaophon, and Apelles are quite unlike one another in themselves, though to none of them does anything seem lacking in his particular style. And if this be wonderful, and yet true, in these, as it were, mute arts, how much more wonderful is it in language and speech?
Cic. de or. III. 26. Habet illa
Cicero, De oratore III.26. That highest praise and admiration in speaking has
in dicendo summa laus ac admiratio umbram aliquam et recessum, quo magis id, quod illuminatum est, exstare atque eminere videatur.
But this high excellence and merit in speaking should be accompanied by some portions of shade and dimness, so that the part on which a stronger light is thrown may seem to stand out, and become more prominent..
Pars imaginis clarissima lumen, obscurissima umbra dicitur per eminentiam, inter has cauta dispensatione, quam hucusque commendavimus, nascitur splendor ille, qui TONUS dicitur. § 685. Sic hoc idem, quod est in naturis rerum, / The clearest part of an image is called light, the darkest shade, by eminence; between these, by the cautious distribution commended thus far, that splendor is born which is called TONE, §685. Thus this same thing which exists in the natures of things
transferri potest etiam ad artes,
But the same observation which is to be made in regard to nature may be applied also to the different kinds of art.,
e. g. / for example
fingendi, picturae, et, si hoc in his quasi mutis artibus est mirandum, et tamen verum, quanto admirabilius in oratione atque in lingua?
Sculpture is a single art, in which Myron, Polyclitus, and Lysippus excelled; all of whom differed one from another, but so that you would not wish any one of them to be unlike himself. The art and science of painting is one, yet Zeuxis, Aglaophon, and Apelles are quite unlike one another in themselves, though to none of them does anything seem lacking in his particular style. And if this be wonderful, and yet true, in these, as it were, mute arts, how much more wonderful is it in language and speech?
Cic. de or. III. 26. Habet illa / Cicero, De oratore III.26. That highest praise and admiration in speaking has
in dicendo summa laus ac admiratio umbram aliquam et recessum, quo magis id, quod illuminatum est, exstare atque eminere videatur.
But this high excellence and merit in speaking should be accompanied by some portions of shade and dimness, so that the part on which a stronger light is thrown may seem to stand out, and become more prominent..
§ 687
Hinc et artificium umbram et lucem bene dispensandi nec sine doctrina quadam solet obtineri, nec observari, ubi adhibitum est, nisi a peritis et disciplina eo pertinente satis imbutis. § 685.
Hence the artifice of distributing shade and light well is usually neither obtained without a certain doctrine nor observed, where it is applied, except by experts and those sufficiently imbued with the relevant discipline, §685.
Quam multa vident pictores in umbra et in eminentia, quae nos non videmus?
How many things do painters see in shadows and in projections which we do not see?
Cic. quaest. ac. IIII. 20. Plinius suum de laudibus Traiani librum mittens Voconio per brevissimam epistolam III. 13. huius tantum regulae mentionem iniicit:
Cicero, Academica IV.20. Pliny, sending his book on the praises of Trajan to Voconius in a very brief letter, III.13, mentions only this rule:
Ut in pictura lumen, non alia res magis, quam umbra, commendat: ita orationem tam summittere, quam attollere decet.
For, just as in painting there is nothing like shadow to bring out the effect of light, so in a speech it is as important on occasions to reduce the treatment to an ordinary level as to raise it to a high one..
Nec intuitu dignitatis tantum, sed etiam varie figurando. § 619. Hinc votum eius:
And not only with respect to dignity, but also by varied figuration, §619. Hence his wish:
Utinam ordo saltim et transitus figurae simul spectarentur a lectore!
I wish that people would pay equal regard to the arrangement of the speech, to its transitions, and the figures of speech employed.
§ 682.
§682.
Nam invenire praeclare, enunciare magnifice interdum etiam barbari solent: disponere apte, figurare varie, nisi eruditis, negatum est.
For even the unlearned sometimes manage to get a noble inspiration and express it in powerful language, but skilful arrangement and variety of metaphor are only attained by the scholarly..
Hinc et artificium umbram et lucem bene dispensandi nec sine doctrina quadam solet obtineri, nec observari, ubi adhibitum est, nisi a peritis et disciplina eo pertinente satis imbutis. § 685.
Hence the artifice of distributing shade and light well is usually neither obtained without a certain doctrine nor observed, where it is applied, except by experts and those sufficiently imbued with the relevant discipline, §685.
Quam multa vident pictores in umbra et in eminentia, quae nos non videmus?
How many things do painters see in shadows and in projections which we do not see?
Cic. quaest. ac.
Cicero, Academica IV.20.
IIII. 20. Plinius suum de laudibus Traiani librum mittens Voconio per brevissimam epistolam III. 13. huius tantum regulae mentionem iniicit:
Pliny, sending his book on the praises of Trajan to Voconius in a very brief letter, III.13, mentions only this rule:
Ut in pictura lumen, non alia res magis, quam umbra, commendat: ita orationem tam summittere, quam attollere decet.
For, just as in painting there is nothing like shadow to bring out the effect of light, so in a speech it is as important on occasions to reduce the treatment to an ordinary level as to raise it to a high one..
Nec intuitu dignitatis tantum, sed etiam varie figurando. § 619. Hinc votum eius:
And not only with respect to dignity, but also by varied figuration, §619. Hence his wish:
Utinam ordo saltim et transitus figurae simul spectarentur a lectore!
I wish that people would pay equal regard to the arrangement of the speech, to its transitions, and the figures of speech employed.
§ 682.
§682.
Nam invenire praeclare, enunciare magnifice interdum etiam barbari solent: disponere apte, figurare varie, nisi eruditis, negatum est.
For even the unlearned sometimes manage to get a noble inspiration and express it in powerful language, but skilful arrangement and variety of metaphor are only attained by the scholarly..
Hinc et artificium umbram et lucem bene
Hence the artifice of distributing shade and light well
dispensandi nec sine doctrina quadam solet obtineri,
is usually neither obtained without a certain doctrine
nec observari, ubi adhibitum est,
nor observed, where it is applied,
nisi a peritis et disciplina eo pertinente satis imbutis. § 685.
except by experts and those sufficiently imbued with the relevant discipline, §685.
Quam multa vident pictores in umbra et in eminentia, quae nos non videmus?
How many things do painters see in shadows and in projections which we do not see?
Cic. quaest. ac.
Cicero, Academica IV.20.
IIII. 20. Plinius suum de laudibus
Pliny, sending his book on the praises
Traiani librum mittens Voconio per brevissimam epistolam III.
of Trajan to Voconius in a very brief
13. huius tantum regulae mentionem iniicit:
letter, III.13, mentions only this rule:
Ut in pictura lumen, non alia res magis, quam umbra, commendat: ita orationem tam summittere, quam attollere decet.
For, just as in painting there is nothing like shadow to bring out the effect of light, so in a speech it is as important on occasions to reduce the treatment to an ordinary level as to raise it to a high one..
Nec intuitu dignitatis tantum,
And not only with respect to dignity,
sed etiam varie figurando. § 619. Hinc votum eius:
but also by varied figuration, §619. Hence his wish:
Utinam ordo saltim et transitus figurae simul spectarentur a lectore!
I wish that people would pay equal regard to the arrangement of the speech, to its transitions, and the figures of speech employed.
§ 682.
§682.
Nam invenire praeclare, enunciare magnifice interdum etiam barbari solent: disponere apte, figurare varie, nisi eruditis, negatum est.
For even the unlearned sometimes manage to get a noble inspiration and express it in powerful language, but skilful arrangement and variety of metaphor are only attained by the scholarly..
Hinc et artificium umbram et lucem bene dispensandi nec sine doctrina quadam solet obtineri, nec observari, ubi adhibitum est, nisi a peritis et disciplina eo pertinente satis imbutis. § 685. / Hence the artifice of distributing shade and light well is usually neither obtained without a certain doctrine nor observed, where it is applied, except by experts and those sufficiently imbued with the relevant discipline, §685.
Quam multa vident pictores in umbra et in eminentia, quae nos non videmus?
How many things do painters see in shadows and in projections which we do not see?
Cic. quaest. ac. / Cicero, Academica IV.20.
IIII. 20. Plinius suum de laudibus Traiani librum mittens Voconio per brevissimam epistolam III. 13. huius tantum regulae mentionem iniicit: / Pliny, sending his book on the praises of Trajan to Voconius in a very brief letter, III.13, mentions only this rule:
Ut in pictura lumen, non alia res magis, quam umbra, commendat: ita orationem tam summittere, quam attollere decet.
For, just as in painting there is nothing like shadow to bring out the effect of light, so in a speech it is as important on occasions to reduce the treatment to an ordinary level as to raise it to a high one..
Nec intuitu dignitatis tantum, sed etiam varie figurando. § 619. Hinc votum eius: / And not only with respect to dignity, but also by varied figuration, §619. Hence his wish:
Utinam ordo saltim et transitus figurae simul spectarentur a lectore!
I wish that people would pay equal regard to the arrangement of the speech, to its transitions, and the figures of speech employed.
§ 682. / §682.
Nam invenire praeclare, enunciare magnifice interdum etiam barbari solent: disponere apte, figurare varie, nisi eruditis, negatum est.
For even the unlearned sometimes manage to get a noble inspiration and express it in powerful language, but skilful arrangement and variety of metaphor are only attained by the scholarly..
§ 688
SECTIO XXXXI
COLORES AESTHETICI
Quemadmodum in physicis color est modificatio visae lucis: ita modificationes lucis aestheticae, § 614. sunt COLORES AESTHETICI. Huc propius non spectat color de quo § 545. licet nonnunquam probando, simul illustrans, esse possit in coloribus nunc nostris. § 142, 143. Huc pertinet quidem tonus ille, de quo § 685. non tamen exhaurit colores omnes aestheticos, sicuti iam non amplius tentabit temere quisquam physicorum omnes colores derivare ex quadam miscela lucis et umbrae, albi et nigri, materiae et privationis. Minime omnium huc pertinet FUCUS AESTHETICUS, affectata, § 110. vividitas, § 626, 627. Veneris nunc nostrae, § 665. est
SECTION XXXXI
AESTHETIC COLORS
Just as in physics color is a modification of seen light, so modifications of aesthetic light, §614, are AESTHETIC COLORS. The color mentioned in §545 does not more closely belong here, although sometimes, by proving and at the same time illustrating, it can be among our present colors, §§142–143. The tone mentioned in §685 does belong here, yet it does not exhaust all aesthetic colors, just as no physicist will now rashly try to derive all colors from some mixture of light and shade, white and black, matter and privation. Least of all does AESTHETIC FALSE COLORING belong here: an affected vividness, §§110, 626–627. Of our present Venus, §665, there is
Verus color, corpus solidum et succi plenum.
"Her complexion genuine, her flesh firm and full of juiciness."
§ 619, 622. Ter. Eun. II. 3.
§§619, 622, Terence, Eunuch II.3.
SECTIO XXXXI
COLORES AESTHETICI
Quemadmodum in physicis color est modificatio visae lucis: ita modificationes lucis aestheticae, § 614. sunt COLORES AESTHETICI.
SECTION XXXXI
AESTHETIC COLORS
Just as in physics color is a modification of seen light, so modifications of aesthetic light, §614, are AESTHETIC COLORS.
Huc propius non spectat color de quo § 545. licet nonnunquam probando, simul illustrans, esse possit in coloribus nunc nostris. § 142, 143. Huc pertinet quidem tonus ille, de quo § 685. non tamen exhaurit colores omnes aestheticos, sicuti iam non amplius tentabit temere quisquam physicorum omnes colores derivare ex quadam miscela lucis et umbrae, albi et nigri, materiae et privationis.
The color mentioned in §545 does not more closely belong here, although sometimes, by proving and at the same time illustrating, it can be among our present colors, §§142–143. The tone mentioned in §685 does belong here, yet it does not exhaust all aesthetic colors, just as no physicist will now rashly try to derive all colors from some mixture of light and shade, white and black, matter and privation.
Minime omnium huc pertinet FUCUS AESTHETICUS, affectata, § 110. vividitas, § 626, 627. Veneris nunc nostrae, § 665. est
Least of all does AESTHETIC FALSE COLORING belong here: an affected vividness, §§110, 626–627. Of our present Venus, §665, there is
Verus color, corpus solidum et succi plenum.
"Her complexion genuine, her flesh firm and full of juiciness."
§ 619, 622. Ter. Eun. II. 3.
§§619, 622, Terence, Eunuch II.3.
SECTIO XXXXI COLORES AESTHETICI Quemadmodum in physicis color
SECTION XXXXI AESTHETIC COLORS Just as in physics color
est modificatio visae lucis: ita modificationes lucis aestheticae, § 614.
is a modification of seen light, so modifications of aesthetic light, §614,
sunt COLORES AESTHETICI.
are AESTHETIC COLORS.
Huc propius non spectat color de quo § 545.
The color mentioned in §545
licet nonnunquam probando,
does not more closely belong here, although sometimes,
simul illustrans,
by proving and at the same time illustrating,
esse possit in coloribus nunc nostris.
it can be among our present colors,
§ 142, 143. Huc pertinet quidem tonus ille, de quo § 685.
§§142–143. The tone mentioned in §685
non tamen exhaurit colores
does belong here, yet it does not exhaust all aesthetic colors,
omnes aestheticos, sicuti iam non amplius tentabit
just as no physicist will now rashly
temere quisquam physicorum omnes colores derivare ex quadam miscela
try to derive all colors from some mixture
lucis et umbrae, albi et nigri, materiae et privationis.
of light and shade, white and black, matter and privation.
Minime omnium huc pertinet FUCUS AESTHETICUS,
Least of all does AESTHETIC FALSE COLORING belong here:
affectata, § 110. vividitas, § 626, 627.
an affected vividness, §§110, 626–627.
Veneris nunc nostrae, § 665. est
Of our present Venus, §665, there is
Verus color, corpus solidum et succi plenum.
"Her complexion genuine, her flesh firm and full of juiciness."
§ 619, 622. Ter. Eun. II. 3.
§§619, 622, Terence, Eunuch II.3.
SECTIO XXXXI COLORES AESTHETICI Quemadmodum in physicis color est modificatio visae lucis: ita modificationes lucis aestheticae, § 614. sunt COLORES AESTHETICI. / SECTION XXXXI AESTHETIC COLORS Just as in physics color is a modification of seen light, so modifications of aesthetic light, §614, are AESTHETIC COLORS.
Huc propius non spectat color de quo § 545. licet nonnunquam probando, simul illustrans, esse possit in coloribus nunc nostris. § 142, 143. Huc pertinet quidem tonus ille, de quo § 685. non tamen exhaurit colores omnes aestheticos, sicuti iam non amplius tentabit temere quisquam physicorum omnes colores derivare ex quadam miscela lucis et umbrae, albi et nigri, materiae et privationis. / The color mentioned in §545 does not more closely belong here, although sometimes, by proving and at the same time illustrating, it can be among our present colors, §§142–143. The tone mentioned in §685 does belong here, yet it does not exhaust all aesthetic colors, just as no physicist will now rashly try to derive all colors from some mixture of light and shade, white and black, matter and privation.
Minime omnium huc pertinet FUCUS AESTHETICUS, affectata, § 110. vividitas, § 626, 627. Veneris nunc nostrae, § 665. est / Least of all does AESTHETIC FALSE COLORING belong here: an affected vividness, §§110, 626–627. Of our present Venus, §665, there is
Verus color, corpus solidum et succi plenum.
"Her complexion genuine, her flesh firm and full of juiciness."
§ 619, 622. Ter. Eun. II. 3. / §§619, 622, Terence, Eunuch II.3.
§ 689
Omnes hoc colores commune inter se habeant aesthetici, ut iis pingenda dilucide saltim cogitentur, § 648, 625.
All aesthetic colors should have this in common: that the things to be painted by them be thought at least clearly, §§648, 625.
Qualis enim caecis poterit color esse tenebris,
Lumine qui mutatur in ipso propterea, quod
Recta aut obliqua percussus luce refulget?
"Truly, what kind of colour could there be
In the viewless dark? Nay, in the light itself
A colour changes, gleaming variedly,
When smote by vertical or slanting ray."
Lucr. II. 800.
Obiter hic quaeritur, an non Lucretius iam viderit veram colorum genesin, diversum refractionis gradum. Quemadmodum modificationes omnes vel qualitatum sunt, vel quantitatum, vel utrarumque simul: sic et colores aesthetici primo qualitate differunt, deinde quodvis hac ratione discrepantium colorum genus habet denuo suam quantitatem, ut, ita dicam, specificam, qua variata novus semper novusque partialiter color producatur, et ita videas totius alicuius
Lucretius II.800. Incidentally one may ask here whether Lucretius had already seen the true genesis of colors, the different degree of refraction. Just as all modifications are of qualities, quantities, or both at once, so aesthetic colors first differ in quality; then every genus of colors differing in this respect has again its own, so to speak, specific quantity, by whose variation a new and ever new partial color is produced. Thus in some whole's "one and pure brightness," §619, you see
in quovis uno puroque nitore, § 619.
Dissimiles longe inter se variosque colores.
"(Or in whatever one pure sheen thou wilt)
Colours diverse and all dissimilar."
§ 688. Lucr. II. 783. qua iucundam in unitate totius varietatem partium exhibentes
§688, Lucretius II.783. By exhibiting a pleasant variety of parts in the unity of the whole,
varii rerum impediunt prohibentque
colores,
Quo minus esse uno possit res tota nitore.
"But differing hues of things do block and keep
The whole from being of one resultant hue."
Lucr.
per aequalem monotoniam minus placituro. § 688.
Lucretius, through an equal monotony that would please less, §688.
Omnes hoc colores commune inter se habeant aesthetici, ut iis pingenda dilucide saltim cogitentur, § 648, 625.
All aesthetic colors should have this in common: that the things to be painted by them be thought at least clearly, §§648, 625.
Qualis enim caecis poterit color esse tenebris,
Lumine qui mutatur in ipso propterea, quod
Recta aut obliqua percussus luce refulget?
"Truly, what kind of colour could there be
In the viewless dark? Nay, in the light itself
A colour changes, gleaming variedly,
When smote by vertical or slanting ray."
Lucr.
Lucretius II.800.
II. 800.
Obiter hic quaeritur, an non Lucretius iam viderit veram colorum genesin, diversum refractionis gradum.
Incidentally one may ask here whether Lucretius had already seen the true genesis of colors, the different degree of refraction.
Quemadmodum modificationes omnes vel qualitatum sunt, vel quantitatum, vel utrarumque simul: sic et colores aesthetici primo qualitate differunt, deinde quodvis hac ratione discrepantium colorum genus habet denuo suam quantitatem, ut, ita dicam, specificam, qua variata novus semper novusque partialiter color producatur, et ita videas totius alicuius
Just as all modifications are of qualities, quantities, or both at once, so aesthetic colors first differ in quality; then every genus of colors differing in this respect has again its own, so to speak, specific quantity, by whose variation a new and ever new partial color is produced. Thus in some whole's "one and pure brightness," §619, you see
in quovis uno puroque nitore, § 619.
Dissimiles longe inter se variosque colores.
"(Or in whatever one pure sheen thou wilt)
Colours diverse and all dissimilar."
§ 688. Lucr.
§688, Lucretius II.783.
II. 783. qua iucundam in unitate totius varietatem partium exhibentes
By exhibiting a pleasant variety of parts in the unity of the whole,
varii rerum impediunt prohibentque
colores,
Quo minus esse uno possit res tota nitore.
"But differing hues of things do block and keep
The whole from being of one resultant hue."
Lucr.
per aequalem monotoniam minus placituro. § 688.
Lucretius, through an equal monotony that would please less, §688.
Omnes hoc colores commune
All aesthetic colors should have this in common:
inter se habeant aesthetici, ut iis pingenda
that the things to be painted by them
dilucide saltim cogitentur, § 648, 625.
be thought at least clearly, §§648, 625.
Qualis enim caecis poterit color esse tenebris,
Lumine qui mutatur in ipso propterea, quod
Recta aut obliqua percussus luce refulget?
"Truly, what kind of colour could there be
In the viewless dark? Nay, in the light itself
A colour changes, gleaming variedly,
When smote by vertical or slanting ray."
Lucr.
Lucretius II.800.
II. 800. Obiter hic quaeritur, an non Lucretius
Incidentally one may ask here whether Lucretius had
iam viderit veram colorum genesin, diversum refractionis gradum.
already seen the true genesis of colors, the different degree of refraction.
Quemadmodum modificationes omnes vel qualitatum sunt,
Just as all modifications are
vel quantitatum, vel utrarumque simul:
of qualities, quantities, or both at once,
sic et colores aesthetici primo qualitate
so aesthetic colors first differ in quality;
differunt, deinde quodvis hac ratione discrepantium colorum
then every genus of colors differing in
genus habet denuo suam quantitatem, ut, ita
this respect has again its own, so to speak,
dicam, specificam, qua variata novus
specific quantity, by whose variation a new and
semper novusque partialiter color producatur,
ever new partial color is produced.
et ita videas totius alicuius
Thus in some whole's "one and pure brightness," §619, you see
in quovis uno puroque nitore, § 619.
Dissimiles longe inter se variosque colores.
"(Or in whatever one pure sheen thou wilt)
Colours diverse and all dissimilar."
§ 688. Lucr.
§688, Lucretius II.783.
II. 783. qua iucundam in
By exhibiting a pleasant variety of parts in the
unitate totius varietatem partium exhibentes
unity of the whole,
varii rerum impediunt prohibentque
colores,
Quo minus esse uno possit res tota nitore.
"But differing hues of things do block and keep
The whole from being of one resultant hue."
Lucr. per aequalem monotoniam minus placituro. § 688.
Lucretius, through an equal monotony that would please less, §688.
Omnes hoc colores commune inter se habeant aesthetici, ut iis pingenda dilucide saltim cogitentur, § 648, 625. / All aesthetic colors should have this in common: that the things to be painted by them be thought at least clearly, §§648, 625.
Qualis enim caecis poterit color esse tenebris,
Lumine qui mutatur in ipso propterea, quod
Recta aut obliqua percussus luce refulget?
"Truly, what kind of colour could there be
In the viewless dark? Nay, in the light itself
A colour changes, gleaming variedly,
When smote by vertical or slanting ray."
Lucr. / Lucretius II.800.
II. 800. Obiter hic quaeritur, an non Lucretius iam viderit veram colorum genesin, diversum refractionis gradum. / Incidentally one may ask here whether Lucretius had already seen the true genesis of colors, the different degree of refraction.
Quemadmodum modificationes omnes vel qualitatum sunt, vel quantitatum, vel utrarumque simul: sic et colores aesthetici primo qualitate differunt, deinde quodvis hac ratione discrepantium colorum genus habet denuo suam quantitatem, ut, ita dicam, specificam, qua variata novus semper novusque partialiter color producatur, et ita videas totius alicuius / Just as all modifications are of qualities, quantities, or both at once, so aesthetic colors first differ in quality; then every genus of colors differing in this respect has again its own, so to speak, specific quantity, by whose variation a new and ever new partial color is produced. Thus in some whole's "one and pure brightness," §619, you see
in quovis uno puroque nitore, § 619.
Dissimiles longe inter se variosque colores.
"(Or in whatever one pure sheen thou wilt)
Colours diverse and all dissimilar."
§ 688. Lucr. / §688, Lucretius II.783.
II. 783. qua iucundam in unitate totius varietatem partium exhibentes / By exhibiting a pleasant variety of parts in the unity of the whole,
varii rerum impediunt prohibentque
colores,
Quo minus esse uno possit res tota nitore.
"But differing hues of things do block and keep
The whole from being of one resultant hue."
Lucr. per aequalem monotoniam minus placituro. § 688. / Lucretius, through an equal monotony that would please less, §688.
§ 690
Quemadmodum autem pictura monochromatos singulis coloribus usa non obstante sua simplicitate, tum primum placuit, tum durat etiam nunc, et in maiore saepe pretio est, quam coloribus satis superque variegata, cuius sola laus sit colorum varietas: ita et colores aestheticos qualitate differentes in omni pulcra meditatione plures sectari, aut omnino numerosam eorundem semper aucupari multitudinem opus non est. § 685. Sit quibusdam pulcre cogitandis, praesertim brevioribus, unus tantum color respectu qualitatis, sed verus et naturalis, § 688. quantitate differens ex iusta lucis et umbrae dispensatione, § 666. aequabiliter ubique materiae temperatus § 267. satis venusta potest esse cogitandi ratio per omnem cogitationis decursum una regnans, e. g. nunc aspera, nunc lenis, nunc submissa, nunc elata, nunc tristis, nunc ludicra. § 688.
But just as monochrome painting, using single colors, first pleased despite its simplicity, and endures even now, and is often of greater value than a painting variegated more than enough with colors whose only praise is variety of colors; so it is not necessary in every beautiful meditation to pursue many aesthetic colors differing in quality, or always to hunt for a numerous multitude of them, §685. In some beautiful thoughts, especially shorter ones, there may be only one color with respect to quality, but true and natural, §688, differing in quantity from the just distribution of light and shade, §666, everywhere tempered equably to the material, §267. A single manner of thinking reigning through the whole course of thought can be sufficiently graceful: now rough, now gentle, now subdued, now elevated, now sad, now playful, §688.
Quemadmodum autem pictura monochromatos singulis coloribus usa non obstante sua simplicitate, tum primum placuit, tum durat etiam nunc, et in maiore saepe pretio est, quam coloribus satis superque variegata, cuius sola laus sit colorum varietas: ita et colores aestheticos qualitate differentes in omni pulcra meditatione plures sectari, aut omnino numerosam eorundem semper aucupari multitudinem opus non est. § 685. Sit quibusdam pulcre cogitandis, praesertim brevioribus, unus tantum color respectu qualitatis, sed verus et naturalis, § 688. quantitate differens ex iusta lucis et umbrae dispensatione, § 666. aequabiliter ubique materiae temperatus § 267. satis venusta potest esse cogitandi ratio per omnem cogitationis decursum una regnans, e. g. nunc aspera, nunc lenis, nunc submissa, nunc elata, nunc tristis, nunc ludicra. § 688.
But just as monochrome painting, using single colors, first pleased despite its simplicity, and endures even now, and is often of greater value than a painting variegated more than enough with colors whose only praise is variety of colors; so it is not necessary in every beautiful meditation to pursue many aesthetic colors differing in quality, or always to hunt for a numerous multitude of them, §685. In some beautiful thoughts, especially shorter ones, there may be only one color with respect to quality, but true and natural, §688, differing in quantity from the just distribution of light and shade, §666, everywhere tempered equably to the material, §267. A single manner of thinking reigning through the whole course of thought can be sufficiently graceful: now rough, now gentle, now subdued, now elevated, now sad, now playful, §688.
Quemadmodum autem pictura monochromatos singulis coloribus
But just as monochrome painting, using single colors,
usa non obstante sua simplicitate, tum primum placuit,
first pleased despite its simplicity, and endures
tum durat etiam nunc, et in maiore saepe pretio est,
even now, and is
quam coloribus satis superque variegata,
often of greater value than a painting variegated
cuius sola laus sit colorum varietas:
more than enough with colors whose only praise is variety
ita et colores aestheticos qualitate differentes in
of colors; so it is not necessary in
omni pulcra meditatione plures sectari,
every beautiful meditation to pursue many aesthetic colors differing in quality,
aut omnino numerosam eorundem semper
or always to hunt for a numerous
aucupari multitudinem opus non est. § 685.
multitude of them, §685.
Sit quibusdam pulcre cogitandis, praesertim brevioribus,
In some beautiful thoughts, especially shorter ones, there may
unus tantum color respectu qualitatis,
be only one color with respect to quality,
sed verus et naturalis, § 688. quantitate differens
but true and natural, §688, differing in quantity
ex iusta lucis et umbrae dispensatione, § 666.
from the just distribution of light and shade, §666,
aequabiliter ubique materiae temperatus § 267.
everywhere tempered equably to the material, §267.
satis venusta potest esse cogitandi ratio per omnem cogitationis decursum una regnans,
A single manner of thinking reigning through the whole course of thought
e. g. nunc aspera, nunc lenis, nunc submissa,
can be sufficiently graceful: now rough, now gentle, now
nunc elata, nunc tristis, nunc ludicra. § 688.
subdued, now elevated, now sad, now playful, §688.
Quemadmodum autem pictura monochromatos singulis coloribus usa non obstante sua simplicitate, tum primum placuit, tum durat etiam nunc, et in maiore saepe pretio est, quam coloribus satis superque variegata, cuius sola laus sit colorum varietas: ita et colores aestheticos qualitate differentes in omni pulcra meditatione plures sectari, aut omnino numerosam eorundem semper aucupari multitudinem opus non est. § 685. Sit quibusdam pulcre cogitandis, praesertim brevioribus, unus tantum color respectu qualitatis, sed verus et naturalis, § 688. quantitate differens ex iusta lucis et umbrae dispensatione, § 666. aequabiliter ubique materiae temperatus § 267. satis venusta potest esse cogitandi ratio per omnem cogitationis decursum una regnans, e. g. nunc aspera, nunc lenis, nunc submissa, nunc elata, nunc tristis, nunc ludicra. § 688. / But just as monochrome painting, using single colors, first pleased despite its simplicity, and endures even now, and is often of greater value than a painting variegated more than enough with colors whose only praise is variety of colors; so it is not necessary in every beautiful meditation to pursue many aesthetic colors differing in quality, or always to hunt for a numerous multitude of them, §685. In some beautiful thoughts, especially shorter ones, there may be only one color with respect to quality, but true and natural, §688, differing in quantity from the just distribution of light and shade, §666, everywhere tempered equably to the material, §267. A single manner of thinking reigning through the whole course of thought can be sufficiently graceful: now rough, now gentle, now subdued, now elevated, now sad, now playful, §688.
§ 691
Sicuti
Just as
quatuor coloribus solis immortalia opera fecere Apelles, Echion, Melanthius, Nicomachus, clarissimi pictores, quum tabulae eorum singulae oppidorum venirent opibus: Plinii autem, per aetatem, purpuris in parietes migrantibus et India conferente fluminum suorum limum et draconum et elephantorum saniem, nulla nobilis pictura erat:
It was with four colours only, that Apelles, Echion, Melanthius, and Nicomachus, those most illustrous painters, executed their immortal works; melinum for the white, Attic sil for the yellow, Pontic sinopis for the red, and atramentum for the black; and yet a single picture of theirs has sold before now for the treasures of whole cities. But at the present day, when purple is employed for colouring walls even, and when India sends to us the slime of her rivers, and the corrupt blood of her dragons and her elephants, there is no such thing as a picture of high quality produced.,
Hist. nat. XXXV. 7. sic nec in ea pulcra meditatione, quae quosdam colores, etiam qualitate differentes coniungit, horum tam quaeratur copia variationisque prodigium, quam ut, pauciores forte, tamen alterna vice sese excitent, qui adhibentur, aptumque naturis pingendorum tonon servent, § 685. neque coactas habeant colorum commissuras ac transitus, nec affectatam ἁρμογήν. § 688. Plin. hist. nat. XXXV. c. 5.
Natural History XXXV.7; so also in a beautiful meditation that joins certain colors, even colors differing in quality, one should not seek so much abundance and a prodigy of variation as that the colors used, perhaps fewer, nevertheless excite one another by alternate turn and preserve the tone suited to the natures of the things to be painted, §685. They should have no forced joints and transitions of colors, nor an affected ἁρμογή, §688; Pliny, Natural History XXXV.5.
Sicuti
Just as
quatuor coloribus solis immortalia opera fecere Apelles, Echion, Melanthius, Nicomachus, clarissimi pictores, quum tabulae eorum singulae oppidorum venirent opibus: Plinii autem, per aetatem, purpuris in parietes migrantibus et India conferente fluminum suorum limum et draconum et elephantorum saniem, nulla nobilis pictura erat:
It was with four colours only, that Apelles, Echion, Melanthius, and Nicomachus, those most illustrous painters, executed their immortal works; melinum for the white, Attic sil for the yellow, Pontic sinopis for the red, and atramentum for the black; and yet a single picture of theirs has sold before now for the treasures of whole cities. But at the present day, when purple is employed for colouring walls even, and when India sends to us the slime of her rivers, and the corrupt blood of her dragons and her elephants, there is no such thing as a picture of high quality produced.,
Hist. nat. XXXV. 7. sic nec in ea pulcra meditatione, quae quosdam colores, etiam qualitate differentes coniungit, horum tam quaeratur copia variationisque prodigium, quam ut, pauciores forte, tamen alterna vice sese excitent, qui adhibentur, aptumque naturis pingendorum tonon servent, § 685. neque coactas habeant colorum commissuras ac transitus, nec affectatam ἁρμογήν. § 688. Plin. hist. nat. XXXV. c. 5.
Natural History XXXV.7; so also in a beautiful meditation that joins certain colors, even colors differing in quality, one should not seek so much abundance and a prodigy of variation as that the colors used, perhaps fewer, nevertheless excite one another by alternate turn and preserve the tone suited to the natures of the things to be painted, §685. They should have no forced joints and transitions of colors, nor an affected ἁρμογή, §688; Pliny, Natural History XXXV.5.
Sicuti
Just as
quatuor coloribus solis immortalia opera fecere Apelles, Echion, Melanthius, Nicomachus, clarissimi pictores, quum tabulae eorum singulae oppidorum venirent opibus: Plinii autem, per aetatem, purpuris in parietes migrantibus et India conferente fluminum suorum limum et draconum et elephantorum saniem, nulla nobilis pictura erat:
It was with four colours only, that Apelles, Echion, Melanthius, and Nicomachus, those most illustrous painters, executed their immortal works; melinum for the white, Attic sil for the yellow, Pontic sinopis for the red, and atramentum for the black; and yet a single picture of theirs has sold before now for the treasures of whole cities. But at the present day, when purple is employed for colouring walls even, and when India sends to us the slime of her rivers, and the corrupt blood of her dragons and her elephants, there is no such thing as a picture of high quality produced.,
Hist. nat. XXXV. 7. sic nec in ea pulcra meditatione,
Natural History XXXV.7; so also in a beautiful meditation
quae quosdam colores, etiam qualitate
that joins certain colors, even colors differing in quality,
differentes coniungit, horum tam quaeratur copia variationisque prodigium,
one should not seek so much abundance and a prodigy
quam ut, pauciores forte,
of variation as that the colors used, perhaps fewer,
tamen alterna vice sese excitent,
nevertheless excite one another by alternate turn and preserve
qui adhibentur, aptumque naturis pingendorum tonon servent,
the tone suited to the natures of the things
§ 685. neque coactas habeant colorum commissuras ac transitus,
to be painted, §685. They should have no forced joints and transitions
nec affectatam ἁρμογήν. § 688. Plin.
of colors, nor an affected ἁρμογή, §688; Pliny,
hist. nat. XXXV. c. 5.
Natural History XXXV.5.
Sicuti / Just as
quatuor coloribus solis immortalia opera fecere Apelles, Echion, Melanthius, Nicomachus, clarissimi pictores, quum tabulae eorum singulae oppidorum venirent opibus: Plinii autem, per aetatem, purpuris in parietes migrantibus et India conferente fluminum suorum limum et draconum et elephantorum saniem, nulla nobilis pictura erat:
It was with four colours only, that Apelles, Echion, Melanthius, and Nicomachus, those most illustrous painters, executed their immortal works; melinum for the white, Attic sil for the yellow, Pontic sinopis for the red, and atramentum for the black; and yet a single picture of theirs has sold before now for the treasures of whole cities. But at the present day, when purple is employed for colouring walls even, and when India sends to us the slime of her rivers, and the corrupt blood of her dragons and her elephants, there is no such thing as a picture of high quality produced.,
Hist. nat. XXXV. 7. sic nec in ea pulcra meditatione, quae quosdam colores, etiam qualitate differentes coniungit, horum tam quaeratur copia variationisque prodigium, quam ut, pauciores forte, tamen alterna vice sese excitent, qui adhibentur, aptumque naturis pingendorum tonon servent, § 685. neque coactas habeant colorum commissuras ac transitus, nec affectatam ἁρμογήν. § 688. Plin. hist. nat. XXXV. c. 5. / Natural History XXXV.7; so also in a beautiful meditation that joins certain colors, even colors differing in quality, one should not seek so much abundance and a prodigy of variation as that the colors used, perhaps fewer, nevertheless excite one another by alternate turn and preserve the tone suited to the natures of the things to be painted, §685. They should have no forced joints and transitions of colors, nor an affected ἁρμογή, §688; Pliny, Natural History XXXV.5.
§ 692
Uti physicorum colorum, non eorum primitivorum solum, sed etiam derivativorum, non simplicium solum, sed etiam compositorum, et decompositorum praesertim si primitivorum et cognominum, e. g. rubri, silacei, viridis, caerulei gradus simul attendas, classes sunt indefinitae, in omnibus tamen maior nunc extensive, nunc intensive, qua robur et celeritatem, lucis quantitas genericam specificamque differentiam vel constituit, vel saltim ingreditur: § 689. sic et aestheticorum colorum cum qualitate differentium, § 690. tum gradu lucis et toni diversorum tot ordines paene sunt, quot rerum naturae, ac modi in rebus ac fines, quos ultra citraque nequeat vera lux subsistere, nec verus color. Modificationum tamen harum omnium differentias etiam certa lucis aestheticae quantitas ingreditur. § 688.
As the classes of physical colors, not only primitive but also derivative, not only simple but also composite and decomposite, especially if you attend at the same time to the degrees of primitive and cognate colors, for example red, ocher, green, and blue, are indefinite, yet in all of them a greater quantity of light, now extensive, now intensive, with respect to strength and speed, either constitutes or at least enters the generic and specific difference, §689; so too there are almost as many orders of aesthetic colors differing both in quality, §690, and in degree of light and tone as there are natures of things, modes in things, and ends beyond and short of which true light and true color cannot subsist. Yet a definite quantity of aesthetic light enters the differences of all these modifications, §688.
Uti physicorum colorum, non eorum primitivorum solum, sed etiam derivativorum, non simplicium solum, sed etiam compositorum, et decompositorum praesertim si primitivorum et cognominum, e. g. rubri, silacei, viridis, caerulei gradus simul attendas, classes sunt indefinitae, in omnibus tamen maior nunc extensive, nunc intensive, qua robur et celeritatem, lucis quantitas genericam specificamque differentiam vel constituit, vel saltim ingreditur: § 689. sic et aestheticorum colorum cum qualitate differentium, § 690. tum gradu lucis et toni diversorum tot ordines paene sunt, quot rerum naturae, ac modi in rebus ac fines, quos ultra citraque nequeat vera lux subsistere, nec verus color.
As the classes of physical colors, not only primitive but also derivative, not only simple but also composite and decomposite, especially if you attend at the same time to the degrees of primitive and cognate colors, for example red, ocher, green, and blue, are indefinite, yet in all of them a greater quantity of light, now extensive, now intensive, with respect to strength and speed, either constitutes or at least enters the generic and specific difference, §689; so too there are almost as many orders of aesthetic colors differing both in quality, §690, and in degree of light and tone as there are natures of things, modes in things, and ends beyond and short of which true light and true color cannot subsist.
Modificationum tamen harum omnium differentias etiam certa lucis aestheticae quantitas ingreditur. § 688.
Yet a definite quantity of aesthetic light enters the differences of all these modifications, §688.
Uti physicorum colorum, non eorum primitivorum solum,
As the classes of physical colors, not only primitive
sed etiam derivativorum, non simplicium solum, sed etiam compositorum,
but also derivative, not only simple but also composite
et decompositorum praesertim si
and decomposite, especially if you attend at the same
primitivorum et cognominum, e.
time to the degrees of primitive and
g. rubri, silacei, viridis, caerulei gradus simul attendas, classes
cognate colors, for example red, ocher, green, and blue,
sunt indefinitae, in omnibus tamen maior nunc
are indefinite, yet in all of them a greater quantity of light,
extensive, nunc intensive, qua robur et celeritatem,
now extensive, now intensive, with respect to strength and speed,
lucis quantitas genericam specificamque differentiam
either constitutes or at least enters the generic and specific difference,
vel constituit, vel saltim ingreditur: § 689.
§689;
sic et aestheticorum colorum cum qualitate differentium,
so too there are almost as many orders of aesthetic colors differing
§ 690. tum gradu lucis
both in quality, §690, and in degree of light
et toni diversorum tot ordines paene sunt, quot rerum naturae,
and tone as there are natures
ac modi in rebus ac fines,
of things, modes in things, and ends
quos ultra citraque nequeat vera lux subsistere,
beyond and short of which true light and
nec verus color.
true color cannot subsist.
Modificationum tamen harum omnium differentias etiam certa
Yet a definite quantity of aesthetic light enters the
lucis aestheticae quantitas ingreditur. § 688.
differences of all these modifications, §688.
Uti physicorum colorum, non eorum primitivorum solum, sed etiam derivativorum, non simplicium solum, sed etiam compositorum, et decompositorum praesertim si primitivorum et cognominum, e. g. rubri, silacei, viridis, caerulei gradus simul attendas, classes sunt indefinitae, in omnibus tamen maior nunc extensive, nunc intensive, qua robur et celeritatem, lucis quantitas genericam specificamque differentiam vel constituit, vel saltim ingreditur: § 689. sic et aestheticorum colorum cum qualitate differentium, § 690. tum gradu lucis et toni diversorum tot ordines paene sunt, quot rerum naturae, ac modi in rebus ac fines, quos ultra citraque nequeat vera lux subsistere, nec verus color. / As the classes of physical colors, not only primitive but also derivative, not only simple but also composite and decomposite, especially if you attend at the same time to the degrees of primitive and cognate colors, for example red, ocher, green, and blue, are indefinite, yet in all of them a greater quantity of light, now extensive, now intensive, with respect to strength and speed, either constitutes or at least enters the generic and specific difference, §689; so too there are almost as many orders of aesthetic colors differing both in quality, §690, and in degree of light and tone as there are natures of things, modes in things, and ends beyond and short of which true light and true color cannot subsist.
Modificationum tamen harum omnium differentias etiam certa lucis aestheticae quantitas ingreditur. § 688. / Yet a definite quantity of aesthetic light enters the differences of all these modifications, §688.
§ 693
Quoniam itaque completam colorum enumerationem nemo temere suscipiat: subsistamus in divisione pliniana: Hist. nat. XXXV. 6.
Since, therefore, no one should rashly undertake a complete enumeration of colors, let us stand with Pliny's division, Natural History XXXV.6:
Sunt autem colores aut austeri, aut floridi.
Colours are either sombre or florid, these qualities arising either from the nature of the substances or their mode of combination..
Concipiamus scalam toni a nigerrimis umbris, quas admittat lux aesthetica absoluta, § 617. per diversos colorum aestheticorum gradus et ordines ad candidissimum usque nitorem aestheticum, § 619. In hac scala erit quidam tonus medius. COLORES infra medium tonum subsistentes AUSTERI sunt, eum transcendentes FLORIDI.
Let us conceive a scale of tone from the blackest shades admitted by absolute aesthetic light, §617, through the different degrees and orders of aesthetic colors, up to the whitest aesthetic brightness, §619. On this scale there will be a certain middle tone. COLORS remaining below the middle tone are AUSTERE; those transcending it are FLORID.
Quoniam itaque completam colorum enumerationem nemo temere suscipiat: subsistamus in divisione pliniana: Hist. nat. XXXV. 6.
Since, therefore, no one should rashly undertake a complete enumeration of colors, let us stand with Pliny's division, Natural History XXXV.6:
Sunt autem colores aut austeri, aut floridi.
Colours are either sombre or florid, these qualities arising either from the nature of the substances or their mode of combination..
Concipiamus scalam toni a nigerrimis umbris, quas admittat lux aesthetica absoluta, § 617. per diversos colorum aestheticorum gradus et ordines ad candidissimum usque nitorem aestheticum, § 619. In hac scala erit quidam tonus medius.
Let us conceive a scale of tone from the blackest shades admitted by absolute aesthetic light, §617, through the different degrees and orders of aesthetic colors, up to the whitest aesthetic brightness, §619. On this scale there will be a certain middle tone.
COLORES infra medium tonum subsistentes AUSTERI sunt, eum transcendentes FLORIDI.
COLORS remaining below the middle tone are AUSTERE; those transcending it are FLORID.
Quoniam itaque completam
Since, therefore, no one should rashly undertake a complete
colorum enumerationem nemo temere suscipiat: subsistamus in divisione pliniana:
enumeration of colors, let us stand with Pliny's division, Natural
Hist. nat. XXXV. 6.
History XXXV.6:
Sunt autem colores aut austeri, aut floridi.
Colours are either sombre or florid, these qualities arising either from the nature of the substances or their mode of combination..
Concipiamus scalam toni a nigerrimis umbris,
Let us conceive a scale of tone from the blackest
quas admittat lux aesthetica absoluta, § 617.
shades admitted by absolute aesthetic light, §617,
per diversos colorum aestheticorum gradus et ordines
through the different degrees and orders of aesthetic colors,
ad candidissimum usque nitorem aestheticum, § 619.
up to the whitest aesthetic brightness, §619.
In hac scala erit quidam tonus medius.
On this scale there will be a certain middle tone.
COLORES infra medium tonum subsistentes AUSTERI
COLORS remaining below the middle tone are AUSTERE;
sunt, eum transcendentes FLORIDI.
those transcending it are FLORID.
Quoniam itaque completam colorum enumerationem nemo temere suscipiat: subsistamus in divisione pliniana: Hist. nat. XXXV. 6. / Since, therefore, no one should rashly undertake a complete enumeration of colors, let us stand with Pliny's division, Natural History XXXV.6:
Sunt autem colores aut austeri, aut floridi.
Colours are either sombre or florid, these qualities arising either from the nature of the substances or their mode of combination..
Concipiamus scalam toni a nigerrimis umbris, quas admittat lux aesthetica absoluta, § 617. per diversos colorum aestheticorum gradus et ordines ad candidissimum usque nitorem aestheticum, § 619. In hac scala erit quidam tonus medius. / Let us conceive a scale of tone from the blackest shades admitted by absolute aesthetic light, §617, through the different degrees and orders of aesthetic colors, up to the whitest aesthetic brightness, §619. On this scale there will be a certain middle tone.
COLORES infra medium tonum subsistentes AUSTERI sunt, eum transcendentes FLORIDI. / COLORS remaining below the middle tone are AUSTERE; those transcending it are FLORID.
§ 694
Quanquam itaque reiicimus genus cogitandi plane horridum, § 634. tamen potest in ipsis venustis meditationibus locum suum tenere hinc recte conceptum GENUS COGITANDI HORRIDULUM ac austerum, in quo color vel colores austeri regnant, § 690, 693. comparandum illi
Although, therefore, we reject the plainly rough kind of thinking, §634, nevertheless in graceful meditations themselves there can rightly hold its place a correctly conceived SOMEWHAT ROUGH and austere KIND OF THINKING, in which an austere color or austere colors reign, §§690, 693. It is to be compared with that
picturae horridae, incultae, abditae ac opacae, in suo tamen genere praestanti,
Thus also in painting, some are pleased with a rough, a wild, and a dark and cloudy style; while others prefer that which is clear, and lively, and well covered with light. How then shall we strike out a general rule or model, when there are several manners, and each of them has a certain perfection of its own?,
§ 624. opponitur isti GENUS COGITANDI FLORIDUM, in quo color vel colores floridi regnant, s. potiores sunt, aut unici, comparandum illi picturae nitidae, laetae atque collustratae, non minus praestanti in suo genere, § 624.
§624. Opposed to it is the FLORID KIND OF THINKING, in which a florid color or florid colors reign, or are the more important or the only ones; this is to be compared with that bright, cheerful, and illuminated painting, no less excellent in its own kind, §624.
Quanquam itaque reiicimus genus cogitandi plane horridum, § 634. tamen potest in ipsis venustis meditationibus locum suum tenere hinc recte conceptum GENUS COGITANDI HORRIDULUM ac austerum, in quo color vel colores austeri regnant, § 690, 693. comparandum illi
Although, therefore, we reject the plainly rough kind of thinking, §634, nevertheless in graceful meditations themselves there can rightly hold its place a correctly conceived SOMEWHAT ROUGH and austere KIND OF THINKING, in which an austere color or austere colors reign, §§690, 693. It is to be compared with that
picturae horridae, incultae, abditae ac opacae, in suo tamen genere praestanti,
Thus also in painting, some are pleased with a rough, a wild, and a dark and cloudy style; while others prefer that which is clear, and lively, and well covered with light. How then shall we strike out a general rule or model, when there are several manners, and each of them has a certain perfection of its own?,
§ 624. opponitur isti GENUS COGITANDI FLORIDUM, in quo color vel colores floridi regnant, s. potiores sunt, aut unici, comparandum illi picturae nitidae, laetae atque collustratae, non minus praestanti in suo genere, § 624.
§624. Opposed to it is the FLORID KIND OF THINKING, in which a florid color or florid colors reign, or are the more important or the only ones; this is to be compared with that bright, cheerful, and illuminated painting, no less excellent in its own kind, §624.
Quanquam itaque reiicimus genus cogitandi
Although, therefore, we reject the plainly rough kind of thinking,
plane horridum, § 634. tamen potest in ipsis venustis meditationibus
§634, nevertheless in graceful meditations
locum suum tenere hinc recte
themselves there can rightly hold its place a
conceptum GENUS COGITANDI HORRIDULUM ac austerum,
correctly conceived SOMEWHAT ROUGH and austere KIND OF THINKING,
in quo color vel colores austeri regnant, § 690, 693.
in which an austere color or austere colors reign, §§690, 693.
comparandum illi
It is to be compared with that
picturae horridae, incultae, abditae ac opacae, in suo tamen genere praestanti,
Thus also in painting, some are pleased with a rough, a wild, and a dark and cloudy style; while others prefer that which is clear, and lively, and well covered with light. How then shall we strike out a general rule or model, when there are several manners, and each of them has a certain perfection of its own?,
§ 624. opponitur isti GENUS COGITANDI
§624. Opposed to it is the FLORID KIND OF THINKING,
FLORIDUM, in quo color vel colores floridi regnant, s.
in which a florid color or florid colors reign, or
potiores sunt, aut unici,
are the more important or the only ones;
comparandum illi picturae nitidae, laetae
this is to be compared with that bright, cheerful,
atque collustratae, non minus praestanti in suo genere, § 624.
and illuminated painting, no less excellent in its own kind, §624.
Quanquam itaque reiicimus genus cogitandi plane horridum, § 634. tamen potest in ipsis venustis meditationibus locum suum tenere hinc recte conceptum GENUS COGITANDI HORRIDULUM ac austerum, in quo color vel colores austeri regnant, § 690, 693. comparandum illi / Although, therefore, we reject the plainly rough kind of thinking, §634, nevertheless in graceful meditations themselves there can rightly hold its place a correctly conceived SOMEWHAT ROUGH and austere KIND OF THINKING, in which an austere color or austere colors reign, §§690, 693. It is to be compared with that
picturae horridae, incultae, abditae ac opacae, in suo tamen genere praestanti,
Thus also in painting, some are pleased with a rough, a wild, and a dark and cloudy style; while others prefer that which is clear, and lively, and well covered with light. How then shall we strike out a general rule or model, when there are several manners, and each of them has a certain perfection of its own?,
§ 624. opponitur isti GENUS COGITANDI FLORIDUM, in quo color vel colores floridi regnant, s. potiores sunt, aut unici, comparandum illi picturae nitidae, laetae atque collustratae, non minus praestanti in suo genere, § 624. / §624. Opposed to it is the FLORID KIND OF THINKING, in which a florid color or florid colors reign, or are the more important or the only ones; this is to be compared with that bright, cheerful, and illuminated painting, no less excellent in its own kind, §624.
§ 695
Horridulum cogitandi genus non excludit aut horret lucem aestheticam et perspicuitatem sensitivam, immo ne nitorem quidem omnem, sed tantum maiorem, § 694, 693. Potest esse, quod Antonius ait de Crassi oratione rhetorica, Cic. Or. III. 51. de horridis rebus nitidum, de ieiunis plenum, de pervulgatis novum. Horridarum interim rerum verus ac naturalis color non est, nisi austerus, et fucum faceret florida rerum horridarum cogitatio, § 688. Crassi nitet oratio, sed quantum nitere potest genus cogitandi aestheticodogmaticum, quod comparatum aestheticohistoricis, aut omnino poeticis, horridulum semper est ac austerum, § 671, 566.
The somewhat rough kind of thinking neither excludes nor shudders at aesthetic light and sensory perspicuity, indeed not even at every brightness, but only at the greater brightness, §§694, 693. It can be what Antonius says of Crassus' rhetorical speech in Cicero, De oratore III.51: bright about rough things, full about lean things, new about common things. Meanwhile the true and natural color of rough things is only austere, and florid thinking about rough things would make false coloring, §688. Crassus' speech shines, but as much as the aesthetic-dogmatic kind of thinking can shine, which, compared with aesthetic-historical or wholly poetic kinds, is always somewhat rough and austere, §§671, 566.
Horridulum cogitandi genus non excludit aut horret lucem aestheticam et perspicuitatem sensitivam, immo ne nitorem quidem omnem, sed tantum maiorem, § 694, 693. Potest esse, quod Antonius ait de Crassi oratione rhetorica, Cic. Or. III. 51. de horridis rebus nitidum, de ieiunis plenum, de pervulgatis novum.
The somewhat rough kind of thinking neither excludes nor shudders at aesthetic light and sensory perspicuity, indeed not even at every brightness, but only at the greater brightness, §§694, 693. It can be what Antonius says of Crassus' rhetorical speech in Cicero, De oratore III.51: bright about rough things, full about lean things, new about common things.
Horridarum interim rerum verus ac naturalis color non est, nisi austerus, et fucum faceret florida rerum horridarum cogitatio, § 688. Crassi nitet oratio, sed quantum nitere potest genus cogitandi aestheticodogmaticum, quod comparatum aestheticohistoricis, aut omnino poeticis, horridulum semper est ac austerum, § 671, 566.
Meanwhile the true and natural color of rough things is only austere, and florid thinking about rough things would make false coloring, §688. Crassus' speech shines, but as much as the aesthetic-dogmatic kind of thinking can shine, which, compared with aesthetic-historical or wholly poetic kinds, is always somewhat rough and austere, §§671, 566.
Horridulum cogitandi genus non excludit
The somewhat rough kind of thinking neither excludes
aut horret lucem aestheticam et perspicuitatem sensitivam,
nor shudders at aesthetic light and sensory perspicuity, indeed
immo ne nitorem quidem omnem, sed tantum maiorem,
not even at every brightness, but only at
§ 694, 693. Potest esse,
the greater brightness, §§694, 693. It can be
quod Antonius ait de Crassi oratione rhetorica, Cic.
what Antonius says of Crassus' rhetorical speech
Or. III. 51. de horridis rebus
in Cicero, De oratore III.51: bright about rough things,
nitidum, de ieiunis plenum, de pervulgatis novum.
full about lean things, new about common things.
Horridarum interim rerum verus ac naturalis color non est,
Meanwhile the true and natural color of rough things is
nisi austerus, et fucum faceret florida
only austere, and florid thinking about rough
rerum horridarum cogitatio, § 688.
things would make false coloring, §688.
Crassi nitet oratio, sed quantum nitere
Crassus' speech shines, but as much as the aesthetic-dogmatic
potest genus cogitandi aestheticodogmaticum, quod comparatum aestheticohistoricis,
kind of thinking can shine, which, compared with aesthetic-historical
aut omnino poeticis, horridulum semper est ac austerum,
or wholly poetic kinds, is always somewhat rough and austere,
§ 671, 566.
§§671, 566.
Horridulum cogitandi genus non excludit aut horret lucem aestheticam et perspicuitatem sensitivam, immo ne nitorem quidem omnem, sed tantum maiorem, § 694, 693. Potest esse, quod Antonius ait de Crassi oratione rhetorica, Cic. Or. III. 51. de horridis rebus nitidum, de ieiunis plenum, de pervulgatis novum. / The somewhat rough kind of thinking neither excludes nor shudders at aesthetic light and sensory perspicuity, indeed not even at every brightness, but only at the greater brightness, §§694, 693. It can be what Antonius says of Crassus' rhetorical speech in Cicero, De oratore III.51: bright about rough things, full about lean things, new about common things.
Horridarum interim rerum verus ac naturalis color non est, nisi austerus, et fucum faceret florida rerum horridarum cogitatio, § 688. Crassi nitet oratio, sed quantum nitere potest genus cogitandi aestheticodogmaticum, quod comparatum aestheticohistoricis, aut omnino poeticis, horridulum semper est ac austerum, § 671, 566. / Meanwhile the true and natural color of rough things is only austere, and florid thinking about rough things would make false coloring, §688. Crassus' speech shines, but as much as the aesthetic-dogmatic kind of thinking can shine, which, compared with aesthetic-historical or wholly poetic kinds, is always somewhat rough and austere, §§671, 566.
§ 696
Austeram habes apud Virgilium Aen. IV. 247. descriptionem
You have an austere description in Virgil, Aeneid IV.247, of
Atlantis duri, caelum qui vertice fulcit;
Atlantis, cinctum assidue cui nubibus atris
Piniferum caput, et vento pulsatur et imbri,
Nix humeros infusa tegit, tum flumina mento
Praecipitant senis, et glacie riget horrida
barba.
"the summit and the sides precipitous
of stubborn Atlas, whose star-pointing peak
props heaven; of Atlas, whose pine-wreathed brow
is girdled evermore with misty gloom
and lashed of wind and rain; a cloak of snow
melts on his shoulder; from his aged chin
drop rivers, and ensheathed in stiffening ice
glitters his great grim beard."
Mox autem Aeneae floridam, § 694. v. 261.
Soon, however, there is a florid description of Aeneas, §694, v.261:
Atque illi stellatus iaspide fulva
Ensis erat, tyrioque ardebat murice laena
Demissa ex humeris, dives quae munera Dido
Fecerat, et tenui telas discreverat auro.
"at his side
was girt a blade with yellow jaspers starred,
his mantle with the stain of Tyrian shell
flowed purple from his shoulder, broidered fair
by opulent Dido with fine threads of gold,
her gift of love;"
Ut hic colores iuxta se proxime positarum imaginum sese alterna vice excitant? In commissuris eorum ac transitu quam naturalis est ἁρμογή? § 691.
How here the colors of images placed nearest to each other excite one another by alternate turn! How natural is the ἁρμογή in their joints and transition, §691!
Austeram habes apud Virgilium Aen. IV. 247. descriptionem
You have an austere description in Virgil, Aeneid IV.247, of
Atlantis duri, caelum qui vertice fulcit;
Atlantis, cinctum assidue cui nubibus atris
Piniferum caput, et vento pulsatur et imbri,
Nix humeros infusa tegit, tum flumina mento
Praecipitant senis, et glacie riget horrida
barba.
"the summit and the sides precipitous
of stubborn Atlas, whose star-pointing peak
props heaven; of Atlas, whose pine-wreathed brow
is girdled evermore with misty gloom
and lashed of wind and rain; a cloak of snow
melts on his shoulder; from his aged chin
drop rivers, and ensheathed in stiffening ice
glitters his great grim beard."
Mox autem Aeneae floridam, § 694. v. 261.
Soon, however, there is a florid description of Aeneas, §694, v.261:
Atque illi stellatus iaspide fulva
Ensis erat, tyrioque ardebat murice laena
Demissa ex humeris, dives quae munera Dido
Fecerat, et tenui telas discreverat auro.
"at his side
was girt a blade with yellow jaspers starred,
his mantle with the stain of Tyrian shell
flowed purple from his shoulder, broidered fair
by opulent Dido with fine threads of gold,
her gift of love;"
Ut hic colores iuxta se proxime positarum imaginum sese alterna vice excitant?
How here the colors of images placed nearest to each other excite one another by alternate turn!
In commissuris eorum ac transitu quam naturalis est ἁρμογή? § 691.
How natural is the ἁρμογή in their joints and transition, §691!
Austeram habes apud Virgilium Aen. IV. 247. descriptionem
You have an austere description in Virgil, Aeneid IV.247, of
Atlantis duri, caelum qui vertice fulcit;
Atlantis, cinctum assidue cui nubibus atris
Piniferum caput, et vento pulsatur et imbri,
Nix humeros infusa tegit, tum flumina mento
Praecipitant senis, et glacie riget horrida
barba.
"the summit and the sides precipitous
of stubborn Atlas, whose star-pointing peak
props heaven; of Atlas, whose pine-wreathed brow
is girdled evermore with misty gloom
and lashed of wind and rain; a cloak of snow
melts on his shoulder; from his aged chin
drop rivers, and ensheathed in stiffening ice
glitters his great grim beard."
Mox autem Aeneae floridam, § 694. v. 261.
Soon, however, there is a florid description of Aeneas, §694, v.261:
Atque illi stellatus iaspide fulva
Ensis erat, tyrioque ardebat murice laena
Demissa ex humeris, dives quae munera Dido
Fecerat, et tenui telas discreverat auro.
"at his side
was girt a blade with yellow jaspers starred,
his mantle with the stain of Tyrian shell
flowed purple from his shoulder, broidered fair
by opulent Dido with fine threads of gold,
her gift of love;"
Ut hic colores iuxta se proxime
How here the colors of images placed nearest to
positarum imaginum sese alterna vice excitant?
each other excite one another by alternate turn!
In commissuris eorum ac transitu
How natural is the ἁρμογή in their joints and transition,
quam naturalis est ἁρμογή? § 691.
§691!
Austeram habes apud Virgilium Aen. IV. 247. descriptionem / You have an austere description in Virgil, Aeneid IV.247, of
Atlantis duri, caelum qui vertice fulcit;
Atlantis, cinctum assidue cui nubibus atris
Piniferum caput, et vento pulsatur et imbri,
Nix humeros infusa tegit, tum flumina mento
Praecipitant senis, et glacie riget horrida
barba.
"the summit and the sides precipitous
of stubborn Atlas, whose star-pointing peak
props heaven; of Atlas, whose pine-wreathed brow
is girdled evermore with misty gloom
and lashed of wind and rain; a cloak of snow
melts on his shoulder; from his aged chin
drop rivers, and ensheathed in stiffening ice
glitters his great grim beard."
Mox autem Aeneae floridam, § 694. v. 261. / Soon, however, there is a florid description of Aeneas, §694, v.261:
Atque illi stellatus iaspide fulva
Ensis erat, tyrioque ardebat murice laena
Demissa ex humeris, dives quae munera Dido
Fecerat, et tenui telas discreverat auro.
"at his side
was girt a blade with yellow jaspers starred,
his mantle with the stain of Tyrian shell
flowed purple from his shoulder, broidered fair
by opulent Dido with fine threads of gold,
her gift of love;"
Ut hic colores iuxta se proxime positarum imaginum sese alterna vice excitant? / How here the colors of images placed nearest to each other excite one another by alternate turn!
In commissuris eorum ac transitu quam naturalis est ἁρμογή? § 691. / How natural is the ἁρμογή in their joints and transition, §691!
§ 697
Austeram iungamus ex Ovidio descriptionem Boreae sibi coniugem rapientis, Met. VI. 702.
Let us join from Ovid an austere description of Boreas carrying off a wife for himself, Metamorphoses VI.702:
Excussit pennas, quarum iactatibus omnis
Afflata est tellus, latumque perhorruit aequor,
Pulvereamque trahens per summa cacumina
pallam
Verrit humum, pavidamque metu, caligine
tectus,
Orithyian amans fulvis amplectitur alis.
And now impetuous Boreas, having howled
resounding words, unrolled his rustling wings—
that fan the earth and ruffle the wide sea—
and, swiftly wrapping untrod mountain peaks
in whirling mantles of far-woven dust,
thence downward hovered to the darkened world;
and, canopied in artificial night
of swarthy overshadowing wings, caught up
the trembling Orithyia to his breast:
Floridam Aeneae descriptionem aliam v. § 662. Utrumque coloris genus quasi e longinquo, qua solet, brevitate Tacitus ostendit, quando narrat
For another florid description of Aeneas, see §662. Tacitus shows both kinds of color, as it were from far off and with his customary brevity, when he narrates that
Pharasmanem simul horridam suorum aciem, picta auro Medorum agmina, hinc viros, inde praedam, ostendere,
He pointed, as he spoke, to his own menacing array, and to the Median bands with their golden embroidery; warriors, as he said, on one side, spoil on the other.,
Ann. VI. 34.
Annals VI.34.
Austeram iungamus ex Ovidio descriptionem Boreae sibi coniugem rapientis, Met. VI. 702.
Let us join from Ovid an austere description of Boreas carrying off a wife for himself, Metamorphoses VI.702:
Excussit pennas, quarum iactatibus omnis
Afflata est tellus, latumque perhorruit aequor,
Pulvereamque trahens per summa cacumina
pallam
Verrit humum, pavidamque metu, caligine
tectus,
Orithyian amans fulvis amplectitur alis.
And now impetuous Boreas, having howled
resounding words, unrolled his rustling wings—
that fan the earth and ruffle the wide sea—
and, swiftly wrapping untrod mountain peaks
in whirling mantles of far-woven dust,
thence downward hovered to the darkened world;
and, canopied in artificial night
of swarthy overshadowing wings, caught up
the trembling Orithyia to his breast:
Floridam Aeneae descriptionem aliam v. § 662. Utrumque coloris genus quasi e longinquo, qua solet, brevitate Tacitus ostendit, quando narrat
For another florid description of Aeneas, see §662. Tacitus shows both kinds of color, as it were from far off and with his customary brevity, when he narrates that
Pharasmanem simul horridam suorum aciem, picta auro Medorum agmina, hinc viros, inde praedam, ostendere,
He pointed, as he spoke, to his own menacing array, and to the Median bands with their golden embroidery; warriors, as he said, on one side, spoil on the other.,
Ann. VI. 34.
Annals VI.34.
Austeram iungamus ex Ovidio descriptionem
Let us join from Ovid an austere description of
Boreae sibi coniugem rapientis, Met. VI. 702.
Boreas carrying off a wife for himself, Metamorphoses VI.702:
Excussit pennas, quarum iactatibus omnis
Afflata est tellus, latumque perhorruit aequor,
Pulvereamque trahens per summa cacumina
pallam
Verrit humum, pavidamque metu, caligine
tectus,
Orithyian amans fulvis amplectitur alis.
And now impetuous Boreas, having howled
resounding words, unrolled his rustling wings—
that fan the earth and ruffle the wide sea—
and, swiftly wrapping untrod mountain peaks
in whirling mantles of far-woven dust,
thence downward hovered to the darkened world;
and, canopied in artificial night
of swarthy overshadowing wings, caught up
the trembling Orithyia to his breast:
Floridam Aeneae descriptionem aliam v. § 662.
For another florid description of Aeneas, see §662.
Utrumque coloris genus quasi e longinquo,
Tacitus shows both kinds of color, as it were from
qua solet, brevitate Tacitus ostendit, quando narrat
far off and with his customary brevity, when he narrates that
Pharasmanem simul horridam suorum aciem, picta auro Medorum agmina, hinc viros, inde praedam, ostendere,
He pointed, as he spoke, to his own menacing array, and to the Median bands with their golden embroidery; warriors, as he said, on one side, spoil on the other.,
Ann. VI. 34.
Annals VI.34.
Austeram iungamus ex Ovidio descriptionem Boreae sibi coniugem rapientis, Met. VI. 702. / Let us join from Ovid an austere description of Boreas carrying off a wife for himself, Metamorphoses VI.702:
Excussit pennas, quarum iactatibus omnis
Afflata est tellus, latumque perhorruit aequor,
Pulvereamque trahens per summa cacumina
pallam
Verrit humum, pavidamque metu, caligine
tectus,
Orithyian amans fulvis amplectitur alis.
And now impetuous Boreas, having howled
resounding words, unrolled his rustling wings—
that fan the earth and ruffle the wide sea—
and, swiftly wrapping untrod mountain peaks
in whirling mantles of far-woven dust,
thence downward hovered to the darkened world;
and, canopied in artificial night
of swarthy overshadowing wings, caught up
the trembling Orithyia to his breast:
Floridam Aeneae descriptionem aliam v. § 662. Utrumque coloris genus quasi e longinquo, qua solet, brevitate Tacitus ostendit, quando narrat / For another florid description of Aeneas, see §662. Tacitus shows both kinds of color, as it were from far off and with his customary brevity, when he narrates that
Pharasmanem simul horridam suorum aciem, picta auro Medorum agmina, hinc viros, inde praedam, ostendere,
He pointed, as he spoke, to his own menacing array, and to the Median bands with their golden embroidery; warriors, as he said, on one side, spoil on the other.,
Ann. VI. 34. / Annals VI.34.
§ 698
Utrumque colorum aestheticorum genus vel pingitur in rebus naturalibus, quatenus a moralibus distinguuntur, vel in moralibus deprehenditur. Horum verus ac naturalis color dabit tertiam ἤθους speciem, § 195, 495. qua moratum cogitandi genus, § 226. moribus characteribusque personarum, actionum, e. c. moralibus non dilucide solum exprimendis sufficiat, sed cuilibet etiam ex his eum locum, eum tonum, id lucis et umbrae temperamentum, eum colorem tribuere noverit, qui decet, § 195. Ita primum apparenti cuiusdam virtutis personae convenient austeri colores et genus cogitandi horridulum, omnis virtutis decor verus ac naturalis, at interior colores et genus cogitandi floridum admittit. Primum apparenti vitiorum quorundam laruae colores floridi laetumque cogitandi genus ac collustratum conveniunt; omnium vitiorum internae turpitudini colores austeri genusque cogitandi subfuscum, § 676, 694.
Each kind of aesthetic color is either painted in natural things, insofar as they are distinguished from moral things, or is found in moral things. The true and natural color of moral things will give the third species of ἤθους, §§195, 495, by which the moralized kind of thinking, §226, suffices not only for clearly expressing the moral manners and characters of persons, actions, and so forth, but also knows how to assign to each of these that place, tone, temperament of light and shade, and color which is fitting, §195. Thus austere colors and a somewhat rough kind of thinking will suit the first appearance of the person of some virtue, the true and natural beauty of every virtue; but the interior admits florid colors and a florid kind of thinking. Florid colors and a cheerful and illuminated kind of thinking suit the first-appearing mask of certain vices; but austere colors and a dusky kind of thinking suit the inner ugliness of all vices, §§676, 694.
Utrumque colorum aestheticorum genus vel pingitur in rebus naturalibus, quatenus a moralibus distinguuntur, vel in moralibus deprehenditur.
Each kind of aesthetic color is either painted in natural things, insofar as they are distinguished from moral things, or is found in moral things.
Horum verus ac naturalis color dabit tertiam ἤθους speciem, § 195, 495. qua moratum cogitandi genus, § 226. moribus characteribusque personarum, actionum, e. c. moralibus non dilucide solum exprimendis sufficiat, sed cuilibet etiam ex his eum locum, eum tonum, id lucis et umbrae temperamentum, eum colorem tribuere noverit, qui decet, § 195. Ita primum apparenti cuiusdam virtutis personae convenient austeri colores et genus cogitandi horridulum, omnis virtutis decor verus ac naturalis, at interior colores et genus cogitandi floridum admittit.
The true and natural color of moral things will give the third species of ἤθους, §§195, 495, by which the moralized kind of thinking, §226, suffices not only for clearly expressing the moral manners and characters of persons, actions, and so forth, but also knows how to assign to each of these that place, tone, temperament of light and shade, and color which is fitting, §195. Thus austere colors and a somewhat rough kind of thinking will suit the first appearance of the person of some virtue, the true and natural beauty of every virtue; but the interior admits florid colors and a florid kind of thinking.
Primum apparenti vitiorum quorundam laruae colores floridi laetumque cogitandi genus ac collustratum conveniunt; omnium vitiorum internae turpitudini colores austeri genusque cogitandi subfuscum, § 676, 694.
Florid colors and a cheerful and illuminated kind of thinking suit the first-appearing mask of certain vices; but austere colors and a dusky kind of thinking suit the inner ugliness of all vices, §§676, 694.
Utrumque colorum aestheticorum genus vel pingitur in rebus naturalibus,
Each kind of aesthetic color is either painted in natural
quatenus a moralibus distinguuntur,
things, insofar as they are distinguished from moral things,
vel in moralibus deprehenditur.
or is found in moral things.
Horum verus ac naturalis color dabit
The true and natural color of moral things will
tertiam ἤθους speciem, § 195, 495.
give the third species of ἤθους, §§195, 495,
qua moratum cogitandi genus, § 226.
by which the moralized kind of thinking, §226,
moribus characteribusque personarum, actionum, e. c.
suffices not only for clearly expressing
moralibus non dilucide solum exprimendis sufficiat,
the moral manners and characters of persons, actions,
sed cuilibet etiam ex
and so forth, but also knows how to
his eum locum, eum tonum,
assign to each of these that place, tone,
id lucis et umbrae temperamentum, eum colorem tribuere noverit,
temperament of light and shade, and color which is
qui decet, § 195. Ita primum apparenti cuiusdam virtutis personae
fitting, §195. Thus
convenient austeri colores et genus
austere colors and a somewhat rough kind of
cogitandi horridulum,
thinking will suit the first appearance of the person of
omnis virtutis decor verus ac naturalis,
some virtue, the true and natural beauty of every virtue;
at interior colores et genus cogitandi floridum admittit.
but the interior admits florid colors and a florid kind of thinking.
Primum apparenti vitiorum quorundam laruae colores floridi laetumque
Florid colors and a cheerful and illuminated kind of
cogitandi genus ac collustratum conveniunt; omnium vitiorum
thinking suit the first-appearing mask of certain vices;
internae turpitudini colores austeri genusque cogitandi
but austere colors and a dusky kind of thinking
subfuscum, § 676, 694.
suit the inner ugliness of all vices, §§676, 694.
Utrumque colorum aestheticorum genus vel pingitur in rebus naturalibus, quatenus a moralibus distinguuntur, vel in moralibus deprehenditur. / Each kind of aesthetic color is either painted in natural things, insofar as they are distinguished from moral things, or is found in moral things.
Horum verus ac naturalis color dabit tertiam ἤθους speciem, § 195, 495. qua moratum cogitandi genus, § 226. moribus characteribusque personarum, actionum, e. c. moralibus non dilucide solum exprimendis sufficiat, sed cuilibet etiam ex his eum locum, eum tonum, id lucis et umbrae temperamentum, eum colorem tribuere noverit, qui decet, § 195. Ita primum apparenti cuiusdam virtutis personae convenient austeri colores et genus cogitandi horridulum, omnis virtutis decor verus ac naturalis, at interior colores et genus cogitandi floridum admittit. / The true and natural color of moral things will give the third species of ἤθους, §§195, 495, by which the moralized kind of thinking, §226, suffices not only for clearly expressing the moral manners and characters of persons, actions, and so forth, but also knows how to assign to each of these that place, tone, temperament of light and shade, and color which is fitting, §195. Thus austere colors and a somewhat rough kind of thinking will suit the first appearance of the person of some virtue, the true and natural beauty of every virtue; but the interior admits florid colors and a florid kind of thinking.
Primum apparenti vitiorum quorundam laruae colores floridi laetumque cogitandi genus ac collustratum conveniunt; omnium vitiorum internae turpitudini colores austeri genusque cogitandi subfuscum, § 676, 694. / Florid colors and a cheerful and illuminated kind of thinking suit the first-appearing mask of certain vices; but austere colors and a dusky kind of thinking suit the inner ugliness of all vices, §§676, 694.
§ 699
Videamus insigne exemplum in Horatii III. oda 24. ubi 1) luxuriam, uti primum apparet, genere cogitandi florido describens:
Let us see a notable example in Horace, Ode III.24, where 1) describing luxury as it first appears by a florid kind of thinking, he says:
Intactis opulentior
Thesauris Arabum et divitis Indiae
Caementis licet occupes
Tyrrhenum omne tuis et mare Apulicum;
"Though your buried wealth surpass
The unsunn'd gold of Ind or Araby,
Though with many a ponderous mass
You crowd the Tuscan and Apulian sea,";
statim subausterus verum huius vitii statum interiorem pingit:
immediately, somewhat austere, he paints the true inner state of this vice:
Si figit adamantinos
Summis verticibus dira Necessitas
Clavos: non animum metu,
Non mortis laqueis expedias caput.
"Let Necessity but drive
Her wedge of adamant into that proud head,
Vainly battling will you strive
To 'scape Death's noose, or rid your soul of dread."
Pergit eadem austeritate morum magis innocentium externum habitum primo apparentem horridius describere, v. 8–28. redit adhuc horridulus ad interiorem luxuriae deformitatem sistendam ob oculos, v. 29–44.
He continues with the same austerity to describe the first-appearing external habit of more innocent manners more roughly, vv.8–28, and returns still somewhat roughly to place before the eyes the inner deformity of luxury, vv.29–44.
Videamus insigne exemplum in Horatii III. oda 24. ubi 1) luxuriam, uti primum apparet, genere cogitandi florido describens:
Let us see a notable example in Horace, Ode III.24, where 1) describing luxury as it first appears by a florid kind of thinking, he says:
Intactis opulentior
Thesauris Arabum et divitis Indiae
Caementis licet occupes
Tyrrhenum omne tuis et mare Apulicum;
"Though your buried wealth surpass
The unsunn'd gold of Ind or Araby,
Though with many a ponderous mass
You crowd the Tuscan and Apulian sea,";
statim subausterus verum huius vitii statum interiorem pingit:
immediately, somewhat austere, he paints the true inner state of this vice:
Si figit adamantinos
Summis verticibus dira Necessitas
Clavos: non animum metu,
Non mortis laqueis expedias caput.
"Let Necessity but drive
Her wedge of adamant into that proud head,
Vainly battling will you strive
To 'scape Death's noose, or rid your soul of dread."
Pergit eadem austeritate morum magis innocentium externum habitum primo apparentem horridius describere, v. 8–28. redit adhuc horridulus ad interiorem luxuriae deformitatem sistendam ob oculos, v. 29–44.
He continues with the same austerity to describe the first-appearing external habit of more innocent manners more roughly, vv.8–28, and returns still somewhat roughly to place before the eyes the inner deformity of luxury, vv.29–44.
Videamus insigne exemplum in Horatii III.
Let us see a notable example in Horace, Ode
oda 24. ubi 1) luxuriam, uti primum apparet,
III.24, where 1) describing luxury as it first appears
genere cogitandi florido describens:
by a florid kind of thinking, he says:
Intactis opulentior
Thesauris Arabum et divitis Indiae
Caementis licet occupes
Tyrrhenum omne tuis et mare Apulicum;
"Though your buried wealth surpass
The unsunn'd gold of Ind or Araby,
Though with many a ponderous mass
You crowd the Tuscan and Apulian sea,";
statim subausterus verum huius vitii statum interiorem pingit:
immediately, somewhat austere, he paints the true inner state of this vice:
Si figit adamantinos
Summis verticibus dira Necessitas
Clavos: non animum metu,
Non mortis laqueis expedias caput.
"Let Necessity but drive
Her wedge of adamant into that proud head,
Vainly battling will you strive
To 'scape Death's noose, or rid your soul of dread."
Pergit eadem austeritate morum magis innocentium
He continues with the same austerity to describe the
externum habitum primo apparentem horridius describere, v.
first-appearing external habit of more innocent manners more
8–28. redit adhuc horridulus ad interiorem
roughly, vv.8–28, and returns still somewhat roughly to place
luxuriae deformitatem sistendam ob oculos, v. 29–44.
before the eyes the inner deformity of luxury, vv.29–44.
Videamus insigne exemplum in Horatii III. oda 24. ubi 1) luxuriam, uti primum apparet, genere cogitandi florido describens: / Let us see a notable example in Horace, Ode III.24, where 1) describing luxury as it first appears by a florid kind of thinking, he says:
Intactis opulentior
Thesauris Arabum et divitis Indiae
Caementis licet occupes
Tyrrhenum omne tuis et mare Apulicum;
"Though your buried wealth surpass
The unsunn'd gold of Ind or Araby,
Though with many a ponderous mass
You crowd the Tuscan and Apulian sea,";
statim subausterus verum huius vitii statum interiorem pingit: / immediately, somewhat austere, he paints the true inner state of this vice:
Si figit adamantinos
Summis verticibus dira Necessitas
Clavos: non animum metu,
Non mortis laqueis expedias caput.
"Let Necessity but drive
Her wedge of adamant into that proud head,
Vainly battling will you strive
To 'scape Death's noose, or rid your soul of dread."
Pergit eadem austeritate morum magis innocentium externum habitum primo apparentem horridius describere, v. 8–28. redit adhuc horridulus ad interiorem luxuriae deformitatem sistendam ob oculos, v. 29–44. / He continues with the same austerity to describe the first-appearing external habit of more innocent manners more roughly, vv.8–28, and returns still somewhat roughly to place before the eyes the inner deformity of luxury, vv.29–44.
§ 700
Iam autem temperantiam suasurus ex vera huius virtutis natura, licet plerosque latente, divitiis renunciare iubet, subito floridus:
But now, about to recommend temperance from the true nature of this virtue, though hidden from most, he suddenly becomes florid and orders riches to be renounced:
Vel nos in Capitolium,
Quo clamor vocat et turba faventium,
Vel nos in mare proximum
Gemmas et lapides, aurum et inutile,
Summi materiem mali,
Mittamus.
"Let the Capitolian fane,
The favour'd goal of yon vociferous crowd,
Aye, or let the nearest main
Receive our gold, our jewels rich and proud:
Slay we thus the cause of crime,"
Probe praevidet, quam absonum hoc, quicquid erat consilii, debeat apparere potentiorum civium plurimis. Hinc sua se denuo virtute involvens illud probat austerus:
He foresees well how discordant this counsel, whatever it was, must appear to most of the more powerful citizens. Hence, wrapping himself again in his virtue, he proves it austerely:
Scelerum si bene poenitet,
Eradenda cupidinis
Pravi sunt elementa, et tenerae nimis
Mentes asperioribus
Firmandae studiis.
"Slay we thus the cause of crime,
If yet we would repent and choose the good:
Ours the task to take in time
This baleful lust, and crush it in the bud.
Ours to mould our weakling sons
To nobler sentiment and manlier deed:"
Quoniam autem desperare videtur de consiliorum suorum fructu in severa austeraque vitiorum intus et in cute male sanorum imagine conquiescit. § 698.
But since he seems to despair of the fruit of his counsels, he rests in the severe and austere image of vices diseased inside and on the skin, §698.
Iam autem temperantiam suasurus ex vera huius virtutis natura, licet plerosque latente, divitiis renunciare iubet, subito floridus:
But now, about to recommend temperance from the true nature of this virtue, though hidden from most, he suddenly becomes florid and orders riches to be renounced:
Vel nos in Capitolium,
Quo clamor vocat et turba faventium,
Vel nos in mare proximum
Gemmas et lapides, aurum et inutile,
Summi materiem mali,
Mittamus.
"Let the Capitolian fane,
The favour'd goal of yon vociferous crowd,
Aye, or let the nearest main
Receive our gold, our jewels rich and proud:
Slay we thus the cause of crime,"
Probe praevidet, quam absonum hoc, quicquid erat consilii, debeat apparere potentiorum civium plurimis.
He foresees well how discordant this counsel, whatever it was, must appear to most of the more powerful citizens.
Hinc sua se denuo virtute involvens illud probat austerus:
Hence, wrapping himself again in his virtue, he proves it austerely:
Scelerum si bene poenitet,
Eradenda cupidinis
Pravi sunt elementa, et tenerae nimis
Mentes asperioribus
Firmandae studiis.
"Slay we thus the cause of crime,
If yet we would repent and choose the good:
Ours the task to take in time
This baleful lust, and crush it in the bud.
Ours to mould our weakling sons
To nobler sentiment and manlier deed:"
Quoniam autem desperare videtur de consiliorum suorum fructu in severa austeraque vitiorum intus et in cute male sanorum imagine conquiescit. § 698.
But since he seems to despair of the fruit of his counsels, he rests in the severe and austere image of vices diseased inside and on the skin, §698.
Iam autem temperantiam suasurus ex
But now, about to recommend temperance from the
vera huius virtutis natura, licet plerosque latente,
true nature of this virtue, though hidden from most,
divitiis renunciare iubet, subito floridus:
he suddenly becomes florid and orders riches to be renounced:
Vel nos in Capitolium,
Quo clamor vocat et turba faventium,
Vel nos in mare proximum
Gemmas et lapides, aurum et inutile,
Summi materiem mali,
Mittamus.
"Let the Capitolian fane,
The favour'd goal of yon vociferous crowd,
Aye, or let the nearest main
Receive our gold, our jewels rich and proud:
Slay we thus the cause of crime,"
Probe praevidet, quam absonum hoc, quicquid erat consilii,
He foresees well how discordant this counsel, whatever it was,
debeat apparere potentiorum civium plurimis.
must appear to most of the more powerful citizens.
Hinc sua se denuo virtute involvens illud probat austerus:
Hence, wrapping himself again in his virtue, he proves it austerely:
Scelerum si bene poenitet,
Eradenda cupidinis
Pravi sunt elementa, et tenerae nimis
Mentes asperioribus
Firmandae studiis.
"Slay we thus the cause of crime,
If yet we would repent and choose the good:
Ours the task to take in time
This baleful lust, and crush it in the bud.
Ours to mould our weakling sons
To nobler sentiment and manlier deed:"
Quoniam autem desperare videtur de consiliorum suorum fructu
But since he seems to despair of the fruit of his counsels,
in severa austeraque vitiorum intus et
he rests in the severe and
in cute male sanorum imagine conquiescit. § 698.
austere image of vices diseased inside and on the skin, §698.
Iam autem temperantiam suasurus ex vera huius virtutis natura, licet plerosque latente, divitiis renunciare iubet, subito floridus: / But now, about to recommend temperance from the true nature of this virtue, though hidden from most, he suddenly becomes florid and orders riches to be renounced:
Vel nos in Capitolium,
Quo clamor vocat et turba faventium,
Vel nos in mare proximum
Gemmas et lapides, aurum et inutile,
Summi materiem mali,
Mittamus.
"Let the Capitolian fane,
The favour'd goal of yon vociferous crowd,
Aye, or let the nearest main
Receive our gold, our jewels rich and proud:
Slay we thus the cause of crime,"
Probe praevidet, quam absonum hoc, quicquid erat consilii, debeat apparere potentiorum civium plurimis. / He foresees well how discordant this counsel, whatever it was, must appear to most of the more powerful citizens.
Hinc sua se denuo virtute involvens illud probat austerus: / Hence, wrapping himself again in his virtue, he proves it austerely:
Scelerum si bene poenitet,
Eradenda cupidinis
Pravi sunt elementa, et tenerae nimis
Mentes asperioribus
Firmandae studiis.
"Slay we thus the cause of crime,
If yet we would repent and choose the good:
Ours the task to take in time
This baleful lust, and crush it in the bud.
Ours to mould our weakling sons
To nobler sentiment and manlier deed:"
Quoniam autem desperare videtur de consiliorum suorum fructu in severa austeraque vitiorum intus et in cute male sanorum imagine conquiescit. § 698. / But since he seems to despair of the fruit of his counsels, he rests in the severe and austere image of vices diseased inside and on the skin, §698.