§ 701
Coniungit Ovidius naturalium moraliumque colores in enarrandis quatuor orbis, quas fingit, aetatibus, Met. I. Aetatis aureae statum florido quam maxime cogitandi genere prosecutus moralem v. 90–100. § 594. transit ad naturalem iisdem floribus conspergendum:
Ovid joins colors of natural and moral things in narrating the four ages of the world which he imagines, Metamorphoses I. Having followed the moral condition of the golden age, vv.90–100, §594, with the most florid kind of thinking, he passes to the natural condition to be sprinkled with the same flowers:
Per se dabat omnia tellus,
Ver erat aeternum, placidique tepentibus auris
Mulcebant Zephyri natos sine semine flores.
Flumina iam lactis, iam flumina nectaris ibant,
Flavaque de viridi stillabant ilice mella,
"Then of her own accord the earth produced
a store of every fruit. [...]
Eternal Spring! Soft breathing zephyrs soothed
and warmly cherished buds and blooms, produced
without a seed. [...]
rivers flowed milk and nectar, and the trees,
the very oak trees, then gave honey of themselves."
v. 112.
v.112.
Coniungit Ovidius naturalium moraliumque colores in enarrandis quatuor orbis, quas fingit, aetatibus, Met. I. Aetatis aureae statum florido quam maxime cogitandi genere prosecutus moralem v. 90–100. § 594. transit ad naturalem iisdem floribus conspergendum:
Ovid joins colors of natural and moral things in narrating the four ages of the world which he imagines, Metamorphoses I. Having followed the moral condition of the golden age, vv.90–100, §594, with the most florid kind of thinking, he passes to the natural condition to be sprinkled with the same flowers:
Per se dabat omnia tellus,
Ver erat aeternum, placidique tepentibus auris
Mulcebant Zephyri natos sine semine flores.
Flumina iam lactis, iam flumina nectaris ibant,
Flavaque de viridi stillabant ilice mella,
"Then of her own accord the earth produced
a store of every fruit. [...]
Eternal Spring! Soft breathing zephyrs soothed
and warmly cherished buds and blooms, produced
without a seed. [...]
rivers flowed milk and nectar, and the trees,
the very oak trees, then gave honey of themselves."
v. 112.
v.112.
Coniungit Ovidius naturalium moraliumque colores
Ovid joins colors of natural and moral things
in enarrandis quatuor orbis, quas fingit, aetatibus, Met.
in narrating the four ages of the world which he imagines, Metamorphoses
I. Aetatis aureae statum florido quam maxime cogitandi genere prosecutus moralem v.
I. Having followed the moral condition of the golden age,
90–100. § 594.
vv.90–100, §594, with the most florid kind of thinking,
transit ad naturalem
he passes to the natural condition to be sprinkled
iisdem floribus conspergendum:
with the same flowers:
Per se dabat omnia tellus,
Ver erat aeternum, placidique tepentibus auris
Mulcebant Zephyri natos sine semine flores.
Flumina iam lactis, iam flumina nectaris ibant,
Flavaque de viridi stillabant ilice mella,
"Then of her own accord the earth produced
a store of every fruit. [...]
Eternal Spring! Soft breathing zephyrs soothed
and warmly cherished buds and blooms, produced
without a seed. [...]
rivers flowed milk and nectar, and the trees,
the very oak trees, then gave honey of themselves."
v. 112.
v.112.
Coniungit Ovidius naturalium moraliumque colores in enarrandis quatuor orbis, quas fingit, aetatibus, Met. I. Aetatis aureae statum florido quam maxime cogitandi genere prosecutus moralem v. 90–100. § 594. transit ad naturalem iisdem floribus conspergendum: / Ovid joins colors of natural and moral things in narrating the four ages of the world which he imagines, Metamorphoses I. Having followed the moral condition of the golden age, vv.90–100, §594, with the most florid kind of thinking, he passes to the natural condition to be sprinkled with the same flowers:
Per se dabat omnia tellus,
Ver erat aeternum, placidique tepentibus auris
Mulcebant Zephyri natos sine semine flores.
Flumina iam lactis, iam flumina nectaris ibant,
Flavaque de viridi stillabant ilice mella,
"Then of her own accord the earth produced
a store of every fruit. [...]
Eternal Spring! Soft breathing zephyrs soothed
and warmly cherished buds and blooms, produced
without a seed. [...]
rivers flowed milk and nectar, and the trees,
the very oak trees, then gave honey of themselves."
v. 112. / v.112.
§ 702
Iam tonum remittit in argentea aetate pingenda, v. 112–124. magis adhuc in aeneae brevi commemoratione sensim cum aetatis illius hominibus
Now he lowers the tone in painting the silver age, vv.112–124, and still more in the brief commemoration of the bronze age, gradually with the men of that age
ad horrida promptior arma,
"Next after this succeded streight, the third and brazen age:
More hard of nature, somewhat bent to cruell warres and rage.
But yet not wholy past all grace."
v. 126.
In ferrea autem aetate describenda ut totus inhorrescit? § 594.
v.126. But in describing the iron age, how wholly he grows rough, §594:
Vivitur ex rapto. Non hospes ab hospite
tutus,
Non socer a genero. Fratrum quoque gratia rara est.
Imminet exitio vir coniugis, illa mariti.
Lurida terribiles miscent aconita novercae,
Filius ante diem patrios inquirit in annos.
Victa iacet Pietas, et virgo caede madentes
Ultima caelestum terras Astraea reliquit.
Neve foret terris securior arduus aether,
Affectasse ferunt regnum caeleste Gigantas,
Altaque congestos struxisse ad sidera montes.
"Men live by ravine and by stelth: the wandring guest doth stand
In daunger of his host: the host in daunger of his guest:
And fathers of their sonne in lawes: yea seldome time doth rest,
Betweene borne brothers such accord and love as ought to bee.
The goodman seekes the goodwifes death, and his againe seeks shee.
The stepdames fell their husbandes sonnes with poyson do assayle.
To see their fathers live so long the children doe bewayle.
All godlynesse lies under foote. And Ladie Astrey, last
Of heavenly vertues, from this earth in slaughter drowned past.
And to th'intent the earth alone thus should not be opprest,
And heaven above in slouthfull ease and carelesse quiet rest,
Men say that Giantes went about the Realme of Heaven to win
To place themselves to raigne as Gods and lawlesse Lordes therein.
And hill on hill they heaped up aloft into the skie,"
153.
v.153.
Iam tonum remittit in argentea aetate pingenda, v. 112–124. magis adhuc in aeneae brevi commemoratione sensim cum aetatis illius hominibus
Now he lowers the tone in painting the silver age, vv.112–124, and still more in the brief commemoration of the bronze age, gradually with the men of that age
ad horrida promptior arma,
"Next after this succeded streight, the third and brazen age:
More hard of nature, somewhat bent to cruell warres and rage.
But yet not wholy past all grace."
v. 126.
In ferrea autem aetate describenda ut totus inhorrescit? § 594.
v.126. But in describing the iron age, how wholly he grows rough, §594:
Vivitur ex rapto. Non hospes ab hospite
tutus,
Non socer a genero. Fratrum quoque gratia rara est.
Imminet exitio vir coniugis, illa mariti.
Lurida terribiles miscent aconita novercae,
Filius ante diem patrios inquirit in annos.
Victa iacet Pietas, et virgo caede madentes
Ultima caelestum terras Astraea reliquit.
Neve foret terris securior arduus aether,
Affectasse ferunt regnum caeleste Gigantas,
Altaque congestos struxisse ad sidera montes.
"Men live by ravine and by stelth: the wandring guest doth stand
In daunger of his host: the host in daunger of his guest:
And fathers of their sonne in lawes: yea seldome time doth rest,
Betweene borne brothers such accord and love as ought to bee.
The goodman seekes the goodwifes death, and his againe seeks shee.
The stepdames fell their husbandes sonnes with poyson do assayle.
To see their fathers live so long the children doe bewayle.
All godlynesse lies under foote. And Ladie Astrey, last
Of heavenly vertues, from this earth in slaughter drowned past.
And to th'intent the earth alone thus should not be opprest,
And heaven above in slouthfull ease and carelesse quiet rest,
Men say that Giantes went about the Realme of Heaven to win
To place themselves to raigne as Gods and lawlesse Lordes therein.
And hill on hill they heaped up aloft into the skie,"
153.
v.153.
Iam tonum remittit in argentea aetate pingenda, v.
Now he lowers the tone in painting the silver age,
112–124. magis adhuc in aeneae brevi commemoratione
vv.112–124, and still more in the brief commemoration of the bronze age,
sensim cum aetatis illius hominibus
gradually with the men of that age
ad horrida promptior arma,
"Next after this succeded streight, the third and brazen age:
More hard of nature, somewhat bent to cruell warres and rage.
But yet not wholy past all grace."
v. 126. In ferrea autem aetate describenda ut totus inhorrescit?
v.126. But in describing the iron age, how wholly he grows rough,
§ 594.
§594:
Vivitur ex rapto. Non hospes ab hospite
tutus,
Non socer a genero. Fratrum quoque gratia rara est.
Imminet exitio vir coniugis, illa mariti.
Lurida terribiles miscent aconita novercae,
Filius ante diem patrios inquirit in annos.
Victa iacet Pietas, et virgo caede madentes
Ultima caelestum terras Astraea reliquit.
Neve foret terris securior arduus aether,
Affectasse ferunt regnum caeleste Gigantas,
Altaque congestos struxisse ad sidera montes.
"Men live by ravine and by stelth: the wandring guest doth stand
In daunger of his host: the host in daunger of his guest:
And fathers of their sonne in lawes: yea seldome time doth rest,
Betweene borne brothers such accord and love as ought to bee.
The goodman seekes the goodwifes death, and his againe seeks shee.
The stepdames fell their husbandes sonnes with poyson do assayle.
To see their fathers live so long the children doe bewayle.
All godlynesse lies under foote. And Ladie Astrey, last
Of heavenly vertues, from this earth in slaughter drowned past.
And to th'intent the earth alone thus should not be opprest,
And heaven above in slouthfull ease and carelesse quiet rest,
Men say that Giantes went about the Realme of Heaven to win
To place themselves to raigne as Gods and lawlesse Lordes therein.
And hill on hill they heaped up aloft into the skie,"
153.
v.153.
Iam tonum remittit in argentea aetate pingenda, v. 112–124. magis adhuc in aeneae brevi commemoratione sensim cum aetatis illius hominibus / Now he lowers the tone in painting the silver age, vv.112–124, and still more in the brief commemoration of the bronze age, gradually with the men of that age
ad horrida promptior arma,
"Next after this succeded streight, the third and brazen age:
More hard of nature, somewhat bent to cruell warres and rage.
But yet not wholy past all grace."
v. 126. In ferrea autem aetate describenda ut totus inhorrescit? § 594. / v.126. But in describing the iron age, how wholly he grows rough, §594:
Vivitur ex rapto. Non hospes ab hospite
tutus,
Non socer a genero. Fratrum quoque gratia rara est.
Imminet exitio vir coniugis, illa mariti.
Lurida terribiles miscent aconita novercae,
Filius ante diem patrios inquirit in annos.
Victa iacet Pietas, et virgo caede madentes
Ultima caelestum terras Astraea reliquit.
Neve foret terris securior arduus aether,
Affectasse ferunt regnum caeleste Gigantas,
Altaque congestos struxisse ad sidera montes.
"Men live by ravine and by stelth: the wandring guest doth stand
In daunger of his host: the host in daunger of his guest:
And fathers of their sonne in lawes: yea seldome time doth rest,
Betweene borne brothers such accord and love as ought to bee.
The goodman seekes the goodwifes death, and his againe seeks shee.
The stepdames fell their husbandes sonnes with poyson do assayle.
To see their fathers live so long the children doe bewayle.
All godlynesse lies under foote. And Ladie Astrey, last
Of heavenly vertues, from this earth in slaughter drowned past.
And to th'intent the earth alone thus should not be opprest,
And heaven above in slouthfull ease and carelesse quiet rest,
Men say that Giantes went about the Realme of Heaven to win
To place themselves to raigne as Gods and lawlesse Lordes therein.
And hill on hill they heaped up aloft into the skie,"
153. / v.153.
§ 703
Pauci sunt, vel nemo, quem deceat, sicut
There are few, or none, whom, like Aristippus,
Omnis Aristippum decuit status, et color, et res,
"As for Aristippus, every complexion of life, every station and circumstance sat gracefully upon him."
Hor. ep. I. 17, 23.
nisi Horatius in hoc etiam splendide mentitus est. Nihil magis principia negatae totalis similitudinis ac aequalitatis confirmat experientia, quam characterum et personarum, morum et modorum agendi diversitas. In quibus tamen ita exprimendis, ut distingui possint, naturam cuiusvis propriam ac suam imitari tanti est, ut, vel hoc unum qui nesciat, eum poetae neget nomine dignum Horatius, quando Artis Poet. v. 86.
Horace, Epistles I.17.23, unless Horace also lied splendidly in this. Experience confirms nothing more than the principles denying total likeness and equality: the diversity of characters and persons, manners and modes of acting. Yet in expressing these so that they can be distinguished, it is so important to imitate the proper and individual nature of each that Horace denies the name of poet to anyone who does not know this, when in the Ars Poetica, v.86, he says:
Descriptas, ait, servare vices, operumque
colores
Cur ego, si nequeo ignoroque poeta salutor?
Cur nescire, pudens prave, quam discere, malo?
Versibus exponi tragicis res comica non vult.
Indignatur item privatis ac prope socco
Dignis carminibus narrari caena Thyestae, § 690.
Singula quaeque locum teneant sortita decentem.
"If I am incapable and unskillful to observe the distinction described, and the complexions of works [of genius], why am I accosted by the name of “Poet?” Why, out of false modesty, do I prefer being ignorant to being learned?
A comic subject will not be handled in tragic verse; in like manner the banquet of Thyestes will not bear to be held in familiar verses, and such as almost suit the sock. Let each peculiar species [of writing] fill with decorum its proper place."
in naturalibus etiam et mechanicis, quod facilius, praesertim autem in moralibus, quod difficilius, § 666, 691.
§690. "Let each thing hold the place fittingly allotted to it," in natural and mechanical matters too, which is easier, but especially in moral matters, which is harder, §§666, 691.
Pauci sunt, vel nemo, quem deceat, sicut
There are few, or none, whom, like Aristippus,
Omnis Aristippum decuit status, et color, et res,
"As for Aristippus, every complexion of life, every station and circumstance sat gracefully upon him."
Hor. ep. I. 17, 23.
nisi Horatius in hoc etiam splendide mentitus est.
Horace, Epistles I.17.23, unless Horace also lied splendidly in this.
Nihil magis principia negatae totalis similitudinis ac aequalitatis confirmat experientia, quam characterum et personarum, morum et modorum agendi diversitas.
Experience confirms nothing more than the principles denying total likeness and equality: the diversity of characters and persons, manners and modes of acting.
In quibus tamen ita exprimendis, ut distingui possint, naturam cuiusvis propriam ac suam imitari tanti est, ut, vel hoc unum qui nesciat, eum poetae neget nomine dignum Horatius, quando Artis Poet. v. 86.
Yet in expressing these so that they can be distinguished, it is so important to imitate the proper and individual nature of each that Horace denies the name of poet to anyone who does not know this, when in the Ars Poetica, v.86, he says:
Descriptas, ait, servare vices, operumque
colores
Cur ego, si nequeo ignoroque poeta salutor?
Cur nescire, pudens prave, quam discere, malo?
Versibus exponi tragicis res comica non vult.
Indignatur item privatis ac prope socco
Dignis carminibus narrari caena Thyestae, § 690.
Singula quaeque locum teneant sortita decentem.
"If I am incapable and unskillful to observe the distinction described, and the complexions of works [of genius], why am I accosted by the name of “Poet?” Why, out of false modesty, do I prefer being ignorant to being learned?
A comic subject will not be handled in tragic verse; in like manner the banquet of Thyestes will not bear to be held in familiar verses, and such as almost suit the sock. Let each peculiar species [of writing] fill with decorum its proper place."
in naturalibus etiam et mechanicis, quod facilius, praesertim autem in moralibus, quod difficilius, § 666, 691.
§690. "Let each thing hold the place fittingly allotted to it," in natural and mechanical matters too, which is easier, but especially in moral matters, which is harder, §§666, 691.
Pauci sunt, vel nemo, quem deceat, sicut
There are few, or none, whom, like Aristippus,
Omnis Aristippum decuit status, et color, et res,
"As for Aristippus, every complexion of life, every station and circumstance sat gracefully upon him."
Hor. ep. I. 17, 23. nisi Horatius in hoc
Horace, Epistles I.17.23, unless Horace
etiam splendide mentitus est.
also lied splendidly in this.
Nihil magis principia negatae totalis similitudinis ac aequalitatis
Experience confirms nothing more than the principles denying total likeness and equality:
confirmat experientia, quam characterum et personarum, morum et modorum agendi diversitas.
the diversity of characters and persons, manners and modes of acting.
In quibus tamen ita exprimendis,
Yet in expressing these so
ut distingui possint,
that they can be distinguished, it
naturam cuiusvis propriam ac suam imitari tanti est,
is so important to imitate the proper and individual nature of each
ut, vel hoc unum qui nesciat,
that Horace denies the name of
eum poetae neget nomine dignum Horatius, quando Artis
poet to anyone who does not know this,
Poet. v. 86.
when in the Ars Poetica, v.86, he says:
Descriptas, ait, servare vices, operumque
colores
Cur ego, si nequeo ignoroque poeta salutor?
Cur nescire, pudens prave, quam discere, malo?
Versibus exponi tragicis res comica non vult.
Indignatur item privatis ac prope socco
Dignis carminibus narrari caena Thyestae, § 690.
Singula quaeque locum teneant sortita decentem.
"If I am incapable and unskillful to observe the distinction described, and the complexions of works [of genius], why am I accosted by the name of “Poet?” Why, out of false modesty, do I prefer being ignorant to being learned?
A comic subject will not be handled in tragic verse; in like manner the banquet of Thyestes will not bear to be held in familiar verses, and such as almost suit the sock. Let each peculiar species [of writing] fill with decorum its proper place."
in naturalibus etiam et mechanicis, quod facilius, praesertim autem
§690. "Let each thing hold the place fittingly allotted to it," in natural and mechanical matters too, which is easier,
in moralibus, quod difficilius, § 666, 691.
but especially in moral matters, which is harder, §§666, 691.
Pauci sunt, vel nemo, quem deceat, sicut / There are few, or none, whom, like Aristippus,
Omnis Aristippum decuit status, et color, et res,
"As for Aristippus, every complexion of life, every station and circumstance sat gracefully upon him."
Hor. ep. I. 17, 23. nisi Horatius in hoc etiam splendide mentitus est. / Horace, Epistles I.17.23, unless Horace also lied splendidly in this.
Nihil magis principia negatae totalis similitudinis ac aequalitatis confirmat experientia, quam characterum et personarum, morum et modorum agendi diversitas. / Experience confirms nothing more than the principles denying total likeness and equality: the diversity of characters and persons, manners and modes of acting.
In quibus tamen ita exprimendis, ut distingui possint, naturam cuiusvis propriam ac suam imitari tanti est, ut, vel hoc unum qui nesciat, eum poetae neget nomine dignum Horatius, quando Artis Poet. v. 86. / Yet in expressing these so that they can be distinguished, it is so important to imitate the proper and individual nature of each that Horace denies the name of poet to anyone who does not know this, when in the Ars Poetica, v.86, he says:
Descriptas, ait, servare vices, operumque
colores
Cur ego, si nequeo ignoroque poeta salutor?
Cur nescire, pudens prave, quam discere, malo?
Versibus exponi tragicis res comica non vult.
Indignatur item privatis ac prope socco
Dignis carminibus narrari caena Thyestae, § 690.
Singula quaeque locum teneant sortita decentem.
"If I am incapable and unskillful to observe the distinction described, and the complexions of works [of genius], why am I accosted by the name of “Poet?” Why, out of false modesty, do I prefer being ignorant to being learned?
A comic subject will not be handled in tragic verse; in like manner the banquet of Thyestes will not bear to be held in familiar verses, and such as almost suit the sock. Let each peculiar species [of writing] fill with decorum its proper place."
in naturalibus etiam et mechanicis, quod facilius, praesertim autem in moralibus, quod difficilius, § 666, 691. / §690. "Let each thing hold the place fittingly allotted to it," in natural and mechanical matters too, which is easier, but especially in moral matters, which is harder, §§666, 691.
§ 704
SECTIO XXXXII
FUCUS OPPOSITUS
Fuci aesthetici tum definitionem iam vidimus § 688. tum quaedam genera, § 626, 627. Sed eius a veris coloribus discernendi difficultas simul, ac necessitas separatam de eodem tractationem videtur requirere. § 628, 625. Sicut autem veri colores sunt vel austeri, vel floridi: § 693. ita et fucus erit vel nimis austerus, non horridulus, sed horridus, § 634. vel nimis floridus et Iridis instar,
SECTION XXXXII
OPPOSED FALSE COLORING
We have already seen both the definition of aesthetic false coloring, §688, and certain kinds of it, §§626–627. But the difficulty and necessity of distinguishing it from true colors seem to require a separate treatment of it, §§628, 625. As true colors are either austere or florid, §693, so false coloring will be either too austere, not somewhat rough but rough, §634, or too florid and, like Iris,
Mille trahens varios adverso sole colores.
"on dewy, saffron pinions down from heaven,
a thousand colors on her radiant way,
from the opposing sun."
Horridulum iam aliquid sonat illud Virgilii,
Virgil's
Arma virumque cano.
"Arms and the man I sing, who first made way,"
Austerius illud est circa medium totius carminis:
already sounds somewhat rough. More austere is this around the middle of the whole poem:
Bella, horrida bella,
Et Tyberim multo spumantem sanguine cerno.
"Shall rue their coming thither! war, red war!
And Tiber stained with bloody foam I see."
Interim rem, de qua agebatur, secundum naturam exprimit verus color, et austeritatis gradus diversus descriptas vices servat, locumque decentem sortitus est. § 703.
Meanwhile true color expresses the matter at issue according to nature, and the different degree of austerity preserves the described roles and has been allotted the fitting place, §703.
SECTIO XXXXII
FUCUS OPPOSITUS
Fuci aesthetici tum definitionem iam vidimus § 688. tum quaedam genera, § 626, 627. Sed eius a veris coloribus discernendi difficultas simul, ac necessitas separatam de eodem tractationem videtur requirere. § 628, 625. Sicut autem veri colores sunt vel austeri, vel floridi: § 693. ita et fucus erit vel nimis austerus, non horridulus, sed horridus, § 634. vel nimis floridus et Iridis instar,
SECTION XXXXII
OPPOSED FALSE COLORING
We have already seen both the definition of aesthetic false coloring, §688, and certain kinds of it, §§626–627. But the difficulty and necessity of distinguishing it from true colors seem to require a separate treatment of it, §§628, 625. As true colors are either austere or florid, §693, so false coloring will be either too austere, not somewhat rough but rough, §634, or too florid and, like Iris,
Mille trahens varios adverso sole colores.
"on dewy, saffron pinions down from heaven,
a thousand colors on her radiant way,
from the opposing sun."
Horridulum iam aliquid sonat illud Virgilii,
Virgil's
Arma virumque cano.
"Arms and the man I sing, who first made way,"
Austerius illud est circa medium totius carminis:
already sounds somewhat rough. More austere is this around the middle of the whole poem:
Bella, horrida bella,
Et Tyberim multo spumantem sanguine cerno.
"Shall rue their coming thither! war, red war!
And Tiber stained with bloody foam I see."
Interim rem, de qua agebatur, secundum naturam exprimit verus color, et austeritatis gradus diversus descriptas vices servat, locumque decentem sortitus est. § 703.
Meanwhile true color expresses the matter at issue according to nature, and the different degree of austerity preserves the described roles and has been allotted the fitting place, §703.
SECTIO XXXXII FUCUS OPPOSITUS Fuci aesthetici tum
SECTION XXXXII OPPOSED FALSE COLORING We have already seen
definitionem iam vidimus § 688.
both the definition of aesthetic false coloring, §688,
tum quaedam genera, § 626, 627.
and certain kinds of it, §§626–627.
Sed eius a veris coloribus discernendi difficultas simul,
But the difficulty
ac necessitas separatam de eodem tractationem videtur requirere.
and necessity of distinguishing it from true colors seem to require
§ 628, 625.
a separate treatment of it, §§628, 625.
Sicut autem veri colores sunt vel austeri, vel floridi:
As true colors are either austere or florid,
§ 693. ita et fucus erit vel nimis austerus,
§693, so false coloring will be either too austere,
non horridulus, sed horridus, § 634.
not somewhat rough but rough, §634,
vel nimis floridus et Iridis instar,
or too florid and, like Iris,
Mille trahens varios adverso sole colores.
"on dewy, saffron pinions down from heaven,
a thousand colors on her radiant way,
from the opposing sun."
Horridulum iam aliquid sonat illud Virgilii,
Virgil's
Arma virumque cano.
"Arms and the man I sing, who first made way,"
Austerius illud est circa
already sounds somewhat rough. More austere is this
medium totius carminis:
around the middle of the whole poem:
Bella, horrida bella,
Et Tyberim multo spumantem sanguine cerno.
"Shall rue their coming thither! war, red war!
And Tiber stained with bloody foam I see."
Interim rem, de qua agebatur, secundum naturam
Meanwhile true color expresses the matter at issue according to nature,
exprimit verus color, et austeritatis gradus
and the different degree of austerity
diversus descriptas vices servat, locumque decentem sortitus est. § 703.
preserves the described roles and has been allotted the fitting place, §703.
SECTIO XXXXII FUCUS OPPOSITUS Fuci aesthetici tum definitionem iam vidimus § 688. tum quaedam genera, § 626, 627. Sed eius a veris coloribus discernendi difficultas simul, ac necessitas separatam de eodem tractationem videtur requirere. § 628, 625. Sicut autem veri colores sunt vel austeri, vel floridi: § 693. ita et fucus erit vel nimis austerus, non horridulus, sed horridus, § 634. vel nimis floridus et Iridis instar, / SECTION XXXXII OPPOSED FALSE COLORING We have already seen both the definition of aesthetic false coloring, §688, and certain kinds of it, §§626–627. But the difficulty and necessity of distinguishing it from true colors seem to require a separate treatment of it, §§628, 625. As true colors are either austere or florid, §693, so false coloring will be either too austere, not somewhat rough but rough, §634, or too florid and, like Iris,
Mille trahens varios adverso sole colores.
"on dewy, saffron pinions down from heaven,
a thousand colors on her radiant way,
from the opposing sun."
Horridulum iam aliquid sonat illud Virgilii, / Virgil's
Arma virumque cano.
"Arms and the man I sing, who first made way,"
Austerius illud est circa medium totius carminis: / already sounds somewhat rough. More austere is this around the middle of the whole poem:
Bella, horrida bella,
Et Tyberim multo spumantem sanguine cerno.
"Shall rue their coming thither! war, red war!
And Tiber stained with bloody foam I see."
Interim rem, de qua agebatur, secundum naturam exprimit verus color, et austeritatis gradus diversus descriptas vices servat, locumque decentem sortitus est. § 703. / Meanwhile true color expresses the matter at issue according to nature, and the different degree of austerity preserves the described roles and has been allotted the fitting place, §703.
§ 705
Huic horridulo colori compara fucum horridum Lucani:
Compare with this somewhat rough color Lucan's rough false coloring:
Bella per Emathios plus quam civilia campos,
Iusque datum sceleri canimus, populumque
potentem,
In sua victrici conversum viscera dextra,
Cognatasque acies, et rupto foedere regni
Certatum totis concussi viribus orbis
In commune nefas, infestisque obvia signis
Signa, pares aquilas, et pila minantia pilis.
Quis furor? o! vates! quae tanta licentia
ab ovo?
"WARS worse than civil on Emathian plains,
And crime let loose we sing: how Rome's high race
Plunged in her vitals her victorious sword;
Armies akin embattled, with the force
Of all the shaken earth bent on the fray;
And burst asunder, to the common guilt,
A kingdom's compact; eagle with eagle met,
Standard to standard, spear opposed to spear.
Whence, citizens, this rage, this boundless lust
To sate barbarians with the blood of Rome?"
Sic incipiat scriptor aliquis cyclicus. Color, non suum decenter locum nactus, iustoque saturatior, fucus est. § 703, 688.
Thus some cyclic writer should begin. Color that has not found its own fitting place and is more saturated than is just is false coloring, §§703, 688.
Huic horridulo colori compara fucum horridum Lucani:
Compare with this somewhat rough color Lucan's rough false coloring:
Bella per Emathios plus quam civilia campos,
Iusque datum sceleri canimus, populumque
potentem,
In sua victrici conversum viscera dextra,
Cognatasque acies, et rupto foedere regni
Certatum totis concussi viribus orbis
In commune nefas, infestisque obvia signis
Signa, pares aquilas, et pila minantia pilis.
Quis furor? o! vates! quae tanta licentia
ab ovo?
"WARS worse than civil on Emathian plains,
And crime let loose we sing: how Rome's high race
Plunged in her vitals her victorious sword;
Armies akin embattled, with the force
Of all the shaken earth bent on the fray;
And burst asunder, to the common guilt,
A kingdom's compact; eagle with eagle met,
Standard to standard, spear opposed to spear.
Whence, citizens, this rage, this boundless lust
To sate barbarians with the blood of Rome?"
Sic incipiat scriptor aliquis cyclicus.
Thus some cyclic writer should begin.
Color, non suum decenter locum nactus, iustoque saturatior, fucus est. § 703, 688.
Color that has not found its own fitting place and is more saturated than is just is false coloring, §§703, 688.
Huic horridulo colori compara fucum horridum Lucani:
Compare with this somewhat rough color Lucan's rough false coloring:
Bella per Emathios plus quam civilia campos,
Iusque datum sceleri canimus, populumque
potentem,
In sua victrici conversum viscera dextra,
Cognatasque acies, et rupto foedere regni
Certatum totis concussi viribus orbis
In commune nefas, infestisque obvia signis
Signa, pares aquilas, et pila minantia pilis.
Quis furor? o! vates! quae tanta licentia
ab ovo?
"WARS worse than civil on Emathian plains,
And crime let loose we sing: how Rome's high race
Plunged in her vitals her victorious sword;
Armies akin embattled, with the force
Of all the shaken earth bent on the fray;
And burst asunder, to the common guilt,
A kingdom's compact; eagle with eagle met,
Standard to standard, spear opposed to spear.
Whence, citizens, this rage, this boundless lust
To sate barbarians with the blood of Rome?"
Sic incipiat scriptor aliquis cyclicus.
Thus some cyclic writer should begin.
Color, non suum decenter locum nactus,
Color that has not found its own fitting place and
iustoque saturatior, fucus est. § 703, 688.
is more saturated than is just is false coloring, §§703, 688.
Huic horridulo colori compara fucum horridum Lucani: / Compare with this somewhat rough color Lucan's rough false coloring:
Bella per Emathios plus quam civilia campos,
Iusque datum sceleri canimus, populumque
potentem,
In sua victrici conversum viscera dextra,
Cognatasque acies, et rupto foedere regni
Certatum totis concussi viribus orbis
In commune nefas, infestisque obvia signis
Signa, pares aquilas, et pila minantia pilis.
Quis furor? o! vates! quae tanta licentia
ab ovo?
"WARS worse than civil on Emathian plains,
And crime let loose we sing: how Rome's high race
Plunged in her vitals her victorious sword;
Armies akin embattled, with the force
Of all the shaken earth bent on the fray;
And burst asunder, to the common guilt,
A kingdom's compact; eagle with eagle met,
Standard to standard, spear opposed to spear.
Whence, citizens, this rage, this boundless lust
To sate barbarians with the blood of Rome?"
Sic incipiat scriptor aliquis cyclicus. / Thus some cyclic writer should begin.
Color, non suum decenter locum nactus, iustoque saturatior, fucus est. § 703, 688. / Color that has not found its own fitting place and is more saturated than is just is false coloring, §§703, 688.
§ 706
Silius Italicus iam auspicatur austerius Virgilio. § 704.
Silius Italicus already begins more austerely than Virgil, §704:
Ordiar arma, quibus caelo se gloria tollit
Aeneadum, patiturque ferox oenotria iura
Carthago.
"I sing those arms, by which the Roman name
Attain'd the summit of immortal fame,
And haughty Carthage bears Oenotrian laws:"
Initium, cui forte satur Horatius iam occlamet: Ohe! ampullas! Huic tamen satis naturalem colorem dixeris comparato cum principiis Claudiani de bello Gethico, quibus in ipso limine furtivae aurum pelliculae, tritus ille fucus, § 626. illitus est:
A beginning to which Horace, already sated, might perhaps shout: Enough! Bombast! Yet you would call this color sufficiently natural compared with Claudian's beginnings on the Gothic war, in which at the very threshold the gold of the stolen fleece, that worn false coloring, §626, has been smeared on:
Intacti quum claustra freti coeuntibus aequor
Armatum scopulis audax irrumpere Argo
Oeteam Colchosque petens, propiore periclo,
Omnibus attonitis solus post numina Typhis
Incolumem tenui damno servasse carinam
Fertur et ancipitem montis vitasse ruinam,
Deceptoque vagae concursu rupis in altum
Victricem duxisse ratem.
"When the intrepid Argo, passing between the clashing rocks that guarded its entrance, burst through the portals of the unfurrowed sea making for Colchis where Aeëtes ruled, it is said that, when all were panic-stricken by the nearing danger, Tiphys alone—with heaven's help—kept safe the almost uninjured bark. 'Twas thanks to him that the Argo escaped the cliffs threatening ruin and came out victorious into the open sea, cunningly eluding the meeting shock of the floating rocks."
e. c. usque ad v. 35.
and so on to verse 35.
Silius Italicus iam auspicatur austerius Virgilio. § 704.
Silius Italicus already begins more austerely than Virgil, §704:
Ordiar arma, quibus caelo se gloria tollit
Aeneadum, patiturque ferox oenotria iura
Carthago.
"I sing those arms, by which the Roman name
Attain'd the summit of immortal fame,
And haughty Carthage bears Oenotrian laws:"
Initium, cui forte satur Horatius iam occlamet: Ohe! ampullas!
A beginning to which Horace, already sated, might perhaps shout: Enough! Bombast!
Huic tamen satis naturalem colorem dixeris comparato cum principiis Claudiani de bello Gethico, quibus in ipso limine furtivae aurum pelliculae, tritus ille fucus, § 626. illitus est:
Yet you would call this color sufficiently natural compared with Claudian's beginnings on the Gothic war, in which at the very threshold the gold of the stolen fleece, that worn false coloring, §626, has been smeared on:
Intacti quum claustra freti coeuntibus aequor
Armatum scopulis audax irrumpere Argo
Oeteam Colchosque petens, propiore periclo,
Omnibus attonitis solus post numina Typhis
Incolumem tenui damno servasse carinam
Fertur et ancipitem montis vitasse ruinam,
Deceptoque vagae concursu rupis in altum
Victricem duxisse ratem.
"When the intrepid Argo, passing between the clashing rocks that guarded its entrance, burst through the portals of the unfurrowed sea making for Colchis where Aeëtes ruled, it is said that, when all were panic-stricken by the nearing danger, Tiphys alone—with heaven's help—kept safe the almost uninjured bark. 'Twas thanks to him that the Argo escaped the cliffs threatening ruin and came out victorious into the open sea, cunningly eluding the meeting shock of the floating rocks."
e. c. usque ad v. 35.
and so on to verse 35.
Silius Italicus iam auspicatur austerius Virgilio. § 704.
Silius Italicus already begins more austerely than Virgil, §704:
Ordiar arma, quibus caelo se gloria tollit
Aeneadum, patiturque ferox oenotria iura
Carthago.
"I sing those arms, by which the Roman name
Attain'd the summit of immortal fame,
And haughty Carthage bears Oenotrian laws:"
Initium, cui forte satur Horatius iam occlamet: Ohe! ampullas!
A beginning to which Horace, already sated, might perhaps shout: Enough! Bombast!
Huic tamen satis naturalem colorem dixeris
Yet you would call this color sufficiently natural
comparato cum principiis Claudiani de bello Gethico,
compared with Claudian's beginnings on the Gothic war,
quibus in ipso limine furtivae aurum pelliculae,
in which at the very threshold the gold of the stolen fleece,
tritus ille fucus, § 626. illitus est:
that worn false coloring, §626, has been smeared on:
Intacti quum claustra freti coeuntibus aequor
Armatum scopulis audax irrumpere Argo
Oeteam Colchosque petens, propiore periclo,
Omnibus attonitis solus post numina Typhis
Incolumem tenui damno servasse carinam
Fertur et ancipitem montis vitasse ruinam,
Deceptoque vagae concursu rupis in altum
Victricem duxisse ratem.
"When the intrepid Argo, passing between the clashing rocks that guarded its entrance, burst through the portals of the unfurrowed sea making for Colchis where Aeëtes ruled, it is said that, when all were panic-stricken by the nearing danger, Tiphys alone—with heaven's help—kept safe the almost uninjured bark. 'Twas thanks to him that the Argo escaped the cliffs threatening ruin and came out victorious into the open sea, cunningly eluding the meeting shock of the floating rocks."
e. c. usque ad v. 35.
and so on to verse 35.
Silius Italicus iam auspicatur austerius Virgilio. § 704. / Silius Italicus already begins more austerely than Virgil, §704:
Ordiar arma, quibus caelo se gloria tollit
Aeneadum, patiturque ferox oenotria iura
Carthago.
"I sing those arms, by which the Roman name
Attain'd the summit of immortal fame,
And haughty Carthage bears Oenotrian laws:"
Initium, cui forte satur Horatius iam occlamet: Ohe! ampullas! / A beginning to which Horace, already sated, might perhaps shout: Enough! Bombast!
Huic tamen satis naturalem colorem dixeris comparato cum principiis Claudiani de bello Gethico, quibus in ipso limine furtivae aurum pelliculae, tritus ille fucus, § 626. illitus est: / Yet you would call this color sufficiently natural compared with Claudian's beginnings on the Gothic war, in which at the very threshold the gold of the stolen fleece, that worn false coloring, §626, has been smeared on:
Intacti quum claustra freti coeuntibus aequor
Armatum scopulis audax irrumpere Argo
Oeteam Colchosque petens, propiore periclo,
Omnibus attonitis solus post numina Typhis
Incolumem tenui damno servasse carinam
Fertur et ancipitem montis vitasse ruinam,
Deceptoque vagae concursu rupis in altum
Victricem duxisse ratem.
"When the intrepid Argo, passing between the clashing rocks that guarded its entrance, burst through the portals of the unfurrowed sea making for Colchis where Aeëtes ruled, it is said that, when all were panic-stricken by the nearing danger, Tiphys alone—with heaven's help—kept safe the almost uninjured bark. 'Twas thanks to him that the Argo escaped the cliffs threatening ruin and came out victorious into the open sea, cunningly eluding the meeting shock of the floating rocks."
e. c. usque ad v. 35. / and so on to verse 35.
§ 707
Horridus eiusmodi fucus, § 704. non sola singularia potest deturpare, § 708, 706 et genus cogitandi aestheticohistoricum, § 566. pari ratione cavendus est aestheticodogmaticis, et utriusque tum naturalia, quatenus moralibus opponuntur, exhibentibus, tum moralia, § 698. Potest in eum delabi genus cogitandi aestheticodogmaticum theoreticum, potest et practicum, nunc paraeneticum, nunc elencticum, § 576. In his versatus eo magis esse debet sollicitus, ne descriptas migret vices, colorisque naturalis et fucorum limites, quoniam et omne iam dogmaticum meditandi genus habere videtur nonnihil horriduli, § 695. et in moralium coloribus facilior lapsus est, dum duplex de iisdem, nunc exterius, et praecipitanter, nunc interius et penitius perspectis, solet iudicium ferri, § 698. 703.
Rough false coloring of this kind, §704, can disfigure not only singulars, §§708, 706, and the aesthetic-historical kind of thinking, §566; it must be avoided in the same way by aesthetic-dogmatic writings, and by both kinds when they exhibit natural things, insofar as these are opposed to moral things, and moral things, §698. The theoretical aesthetic-dogmatic kind of thinking can slip into it, and so can the practical, now paraenetic, now elenctic, §576. One occupied with these must be all the more anxious not to cross the assigned roles and the boundaries of natural color and false color, since every dogmatic kind of meditation already seems to have something somewhat rough in it, §695, and since the fall is easier in moral colors, where a double judgment is usually made about them, now from the outside and precipitately, now from the inside and more deeply perceived, §§698, 703.
Horridus eiusmodi fucus, § 704. non sola singularia potest deturpare, § 708, 706 et genus cogitandi aestheticohistoricum, § 566. pari ratione cavendus est aestheticodogmaticis, et utriusque tum naturalia, quatenus moralibus opponuntur, exhibentibus, tum moralia, § 698. Potest in eum delabi genus cogitandi aestheticodogmaticum theoreticum, potest et practicum, nunc paraeneticum, nunc elencticum, § 576. In his versatus eo magis esse debet sollicitus, ne descriptas migret vices, colorisque naturalis et fucorum limites, quoniam et omne iam dogmaticum meditandi genus habere videtur nonnihil horriduli, § 695. et in moralium coloribus facilior lapsus est, dum duplex de iisdem, nunc exterius, et praecipitanter, nunc interius et penitius perspectis, solet iudicium ferri, § 698. 703.
Rough false coloring of this kind, §704, can disfigure not only singulars, §§708, 706, and the aesthetic-historical kind of thinking, §566; it must be avoided in the same way by aesthetic-dogmatic writings, and by both kinds when they exhibit natural things, insofar as these are opposed to moral things, and moral things, §698. The theoretical aesthetic-dogmatic kind of thinking can slip into it, and so can the practical, now paraenetic, now elenctic, §576. One occupied with these must be all the more anxious not to cross the assigned roles and the boundaries of natural color and false color, since every dogmatic kind of meditation already seems to have something somewhat rough in it, §695, and since the fall is easier in moral colors, where a double judgment is usually made about them, now from the outside and precipitately, now from the inside and more deeply perceived, §§698, 703.
Horridus eiusmodi fucus, § 704.
Rough false coloring of this kind, §704,
non sola singularia potest deturpare, § 708, 706
can disfigure not only singulars, §§708, 706,
et genus cogitandi aestheticohistoricum, § 566.
and the aesthetic-historical kind of thinking, §566;
pari ratione cavendus est aestheticodogmaticis,
it must be avoided in the same way by aesthetic-dogmatic
et utriusque tum naturalia,
writings, and by both kinds when they exhibit natural
quatenus moralibus opponuntur,
things, insofar as these are opposed to moral
exhibentibus, tum moralia, § 698. Potest in eum delabi
things, and moral things, §698. The theoretical aesthetic-dogmatic kind
genus cogitandi aestheticodogmaticum theoreticum, potest
of thinking can slip into it,
et practicum, nunc paraeneticum, nunc elencticum, § 576.
and so can the practical, now paraenetic, now elenctic, §576.
In his versatus eo magis esse debet sollicitus,
One occupied with these must be all the
ne descriptas migret vices,
more anxious not to cross the
colorisque naturalis et fucorum limites,
assigned roles and the boundaries of natural
quoniam et omne iam dogmaticum
color and false color, since every dogmatic kind of
meditandi genus habere videtur nonnihil horriduli, § 695.
meditation already seems to have something somewhat rough in it, §695,
et in moralium coloribus
and since the fall is easier in moral colors,
facilior lapsus est, dum duplex de iisdem,
where a double judgment is usually made about them,
nunc exterius, et praecipitanter,
now from the outside and precipitately,
nunc interius et penitius perspectis, solet iudicium ferri, § 698. 703.
now from the inside and more deeply perceived, §§698, 703.
Horridus eiusmodi fucus, § 704. non sola singularia potest deturpare, § 708, 706 et genus cogitandi aestheticohistoricum, § 566. pari ratione cavendus est aestheticodogmaticis, et utriusque tum naturalia, quatenus moralibus opponuntur, exhibentibus, tum moralia, § 698. Potest in eum delabi genus cogitandi aestheticodogmaticum theoreticum, potest et practicum, nunc paraeneticum, nunc elencticum, § 576. In his versatus eo magis esse debet sollicitus, ne descriptas migret vices, colorisque naturalis et fucorum limites, quoniam et omne iam dogmaticum meditandi genus habere videtur nonnihil horriduli, § 695. et in moralium coloribus facilior lapsus est, dum duplex de iisdem, nunc exterius, et praecipitanter, nunc interius et penitius perspectis, solet iudicium ferri, § 698. 703. / Rough false coloring of this kind, §704, can disfigure not only singulars, §§708, 706, and the aesthetic-historical kind of thinking, §566; it must be avoided in the same way by aesthetic-dogmatic writings, and by both kinds when they exhibit natural things, insofar as these are opposed to moral things, and moral things, §698. The theoretical aesthetic-dogmatic kind of thinking can slip into it, and so can the practical, now paraenetic, now elenctic, §576. One occupied with these must be all the more anxious not to cross the assigned roles and the boundaries of natural color and false color, since every dogmatic kind of meditation already seems to have something somewhat rough in it, §695, and since the fall is easier in moral colors, where a double judgment is usually made about them, now from the outside and precipitately, now from the inside and more deeply perceived, §§698, 703.
§ 708
Fucum aestheticopracticum § 707. non eum crassiorem nunc dissuadebimus, in quem invehitur Iuvenalis, sat. 2. quando
We shall not now dissuade from the coarser aesthetic-practical false coloring, §707, against which Juvenal inveighs in Satire 2, when
Ultra Sauromatas fugere hinc libet, et glacialem
Oceanum, quoties aliquid de moribus audent,
Qui Curios simulant, et Bacchanalia vivunt,
"I long to escape from hence beyond the Sarmatians, and the frozen sea, whenever those fellows who pretend to be Curii and live like Bacchanals presume to read a lecture on morality."
§ 362.
Subtilior hic culpandus in cogitationibus fucus etiam eorum est, quorum forte nec mala mens, nec malus animus est, licet verioris beatitudinis non satis conscius. Quaeratur e. g. de vero felicitatis colore, quem naturalem et non fucatum explanet aestheticodogmaticus. Sequuntur tunc sui sapientis archetypum, et inde derivatas cogitandi loquendive formulas, Stoici quae
§362. The subtler false coloring to be blamed here in thoughts belongs even to those whose mind and soul perhaps are not bad, though they are not sufficiently conscious of truer happiness. Let the question be, for example, about the true color of happiness, which the aesthetic-dogmatic writer should explain as natural and not false-colored. The Stoics then follow the archetype of their wise man and the formulas of thinking and speaking derived from it;
dum mordicus tenent, neque sibi evelli ex ore vel animo volunt: horridiores evadunt, asperiores, duriores et oratione, et moribus, et ipsa cogitandi ratione.
when they try to escape from this they adopt what is in reality the position of the Peripatetics, though still clinging tooth and nail to their own terminology. Unwilling again to take the next step and weed out this terminology, they end by being rougher and more uncouth than ever, full of asperities of style and even of manners.,
Cic. de fin. IIII. 78. Hinc in eorum picturas boni, mali, virtutis, beatitudinis, felicitatis fucus inducitur nimis austerus. § 704.
Cicero, De finibus IV.78. Hence false coloring that is too austere is introduced into their pictures of good, evil, virtue, blessedness, and happiness, §704.
Fucum aestheticopracticum § 707. non eum crassiorem nunc dissuadebimus, in quem invehitur Iuvenalis, sat. 2. quando
We shall not now dissuade from the coarser aesthetic-practical false coloring, §707, against which Juvenal inveighs in Satire 2, when
Ultra Sauromatas fugere hinc libet, et glacialem
Oceanum, quoties aliquid de moribus audent,
Qui Curios simulant, et Bacchanalia vivunt,
"I long to escape from hence beyond the Sarmatians, and the frozen sea, whenever those fellows who pretend to be Curii and live like Bacchanals presume to read a lecture on morality."
§ 362.
Subtilior hic culpandus in cogitationibus fucus etiam eorum est, quorum forte nec mala mens, nec malus animus est, licet verioris beatitudinis non satis conscius.
§362. The subtler false coloring to be blamed here in thoughts belongs even to those whose mind and soul perhaps are not bad, though they are not sufficiently conscious of truer happiness.
Quaeratur e. g. de vero felicitatis colore, quem naturalem et non fucatum explanet aestheticodogmaticus.
Let the question be, for example, about the true color of happiness, which the aesthetic-dogmatic writer should explain as natural and not false-colored.
Sequuntur tunc sui sapientis archetypum, et inde derivatas cogitandi loquendive formulas, Stoici quae
The Stoics then follow the archetype of their wise man and the formulas of thinking and speaking derived from it;
dum mordicus tenent, neque sibi evelli ex ore vel animo volunt: horridiores evadunt, asperiores, duriores et oratione, et moribus, et ipsa cogitandi ratione.
when they try to escape from this they adopt what is in reality the position of the Peripatetics, though still clinging tooth and nail to their own terminology. Unwilling again to take the next step and weed out this terminology, they end by being rougher and more uncouth than ever, full of asperities of style and even of manners.,
Cic. de fin. IIII. 78. Hinc in eorum picturas boni, mali, virtutis, beatitudinis, felicitatis fucus inducitur nimis austerus. § 704.
Cicero, De finibus IV.78. Hence false coloring that is too austere is introduced into their pictures of good, evil, virtue, blessedness, and happiness, §704.
Fucum aestheticopracticum § 707. non eum crassiorem nunc dissuadebimus,
We shall not now dissuade from the coarser aesthetic-practical false coloring,
in quem invehitur Iuvenalis, sat. 2. quando
§707, against which Juvenal inveighs in Satire 2, when
Ultra Sauromatas fugere hinc libet, et glacialem
Oceanum, quoties aliquid de moribus audent,
Qui Curios simulant, et Bacchanalia vivunt,
"I long to escape from hence beyond the Sarmatians, and the frozen sea, whenever those fellows who pretend to be Curii and live like Bacchanals presume to read a lecture on morality."
§ 362. Subtilior hic culpandus
§362. The subtler false coloring to be blamed here
in cogitationibus fucus etiam eorum est, quorum forte nec mala mens,
in thoughts belongs even to those whose mind and soul
nec malus animus est, licet verioris beatitudinis non satis conscius.
perhaps are not bad, though they are not sufficiently conscious of truer happiness.
Quaeratur e. g. de vero felicitatis colore,
Let the question be, for example, about the true color
quem
of happiness, which the aesthetic-dogmatic writer should explain as
naturalem et non fucatum explanet aestheticodogmaticus.
natural and not false-colored.
Sequuntur tunc sui sapientis archetypum,
The Stoics then follow the archetype
et inde derivatas cogitandi loquendive formulas,
of their wise man and the formulas of thinking and speaking
Stoici quae
derived from it;
dum mordicus tenent, neque sibi evelli ex ore vel animo volunt: horridiores evadunt, asperiores, duriores et oratione, et moribus, et ipsa cogitandi ratione.
when they try to escape from this they adopt what is in reality the position of the Peripatetics, though still clinging tooth and nail to their own terminology. Unwilling again to take the next step and weed out this terminology, they end by being rougher and more uncouth than ever, full of asperities of style and even of manners.,
Cic. de fin. IIII. 78. Hinc
Cicero, De finibus IV.78. Hence false coloring that
in eorum picturas boni,
is too austere is introduced into their pictures of
mali, virtutis, beatitudinis, felicitatis fucus inducitur nimis austerus. § 704.
good, evil, virtue, blessedness, and happiness, §704.
Fucum aestheticopracticum § 707. non eum crassiorem nunc dissuadebimus, in quem invehitur Iuvenalis, sat. 2. quando / We shall not now dissuade from the coarser aesthetic-practical false coloring, §707, against which Juvenal inveighs in Satire 2, when
Ultra Sauromatas fugere hinc libet, et glacialem
Oceanum, quoties aliquid de moribus audent,
Qui Curios simulant, et Bacchanalia vivunt,
"I long to escape from hence beyond the Sarmatians, and the frozen sea, whenever those fellows who pretend to be Curii and live like Bacchanals presume to read a lecture on morality."
§ 362. Subtilior hic culpandus in cogitationibus fucus etiam eorum est, quorum forte nec mala mens, nec malus animus est, licet verioris beatitudinis non satis conscius. / §362. The subtler false coloring to be blamed here in thoughts belongs even to those whose mind and soul perhaps are not bad, though they are not sufficiently conscious of truer happiness.
Quaeratur e. g. de vero felicitatis colore, quem naturalem et non fucatum explanet aestheticodogmaticus. / Let the question be, for example, about the true color of happiness, which the aesthetic-dogmatic writer should explain as natural and not false-colored.
Sequuntur tunc sui sapientis archetypum, et inde derivatas cogitandi loquendive formulas, Stoici quae / The Stoics then follow the archetype of their wise man and the formulas of thinking and speaking derived from it;
dum mordicus tenent, neque sibi evelli ex ore vel animo volunt: horridiores evadunt, asperiores, duriores et oratione, et moribus, et ipsa cogitandi ratione.
when they try to escape from this they adopt what is in reality the position of the Peripatetics, though still clinging tooth and nail to their own terminology. Unwilling again to take the next step and weed out this terminology, they end by being rougher and more uncouth than ever, full of asperities of style and even of manners.,
Cic. de fin. IIII. 78. Hinc in eorum picturas boni, mali, virtutis, beatitudinis, felicitatis fucus inducitur nimis austerus. § 704. / Cicero, De finibus IV.78. Hence false coloring that is too austere is introduced into their pictures of good, evil, virtue, blessedness, and happiness, §704.
§ 709
Sub eadem hypothesi § 708. sequetur Epicureus aliquis unicam voluptatem, quam si formaverit animo, sicuti facilis est, et in vulgus pervulgata, neque totum caelestis nostrae Veneris systema, sed eius aliquam modo particulam, mente comprehenderit, § 646. temere mollescet in eam levitatem, ut mites forsan aliquos Felicitatis ductus satis feliciter imitetur, quos autem graviores et austeros simul exprimere
Under the same hypothesis, §708, some Epicurean will follow the single pleasure which, if he has formed it in mind as easy and commonly familiar to the crowd, and has comprehended not the whole system of our heavenly Venus but only some little part of it, §646, he will rashly soften into such lightness that perhaps he imitates fairly happily some gentle strokes of Happiness. But the graver and austere strokes which
iubet horrida Virtus,
Armatumque Fide pectus, Rectique cupido,
Audita asperitate,
"With an Heart full of Rage, the Libyan stands
Before the Walls, and, instantly, Commands
The Deputies into the Camp to send
For Decius, whom rough Valour did commend,
And a Breast arm'd with Faith; a Soul inclin'd
To Justice, and then Capua a Minde
More great; who, with undaunted Courage, took
Those menacing Commands: ..."
Sil. XI. 305.
nolit laetioribus innectere, vel certe leviculo penicillo per male locatum spuriae lucis nitorem obducet, et hinc ponere totum nesciet sine fuco nimis florido. § 704. Peripateticorum in his theoriam denique sequutus a vero Felicitatis colore propius aberit. § 688.
Silius XI.305, he will not wish to weave in with the more cheerful ones, or at least will cover them with a rather light brush through the brightness of spurious light badly placed, and hence will not know how to set forth the whole without false coloring that is too florid, §704. Finally, one who follows the Peripatetic theory in these matters will be nearer to the true color of Happiness, §688.
Sub eadem hypothesi § 708. sequetur Epicureus aliquis unicam voluptatem, quam si formaverit animo, sicuti facilis est, et in vulgus pervulgata, neque totum caelestis nostrae Veneris systema, sed eius aliquam modo particulam, mente comprehenderit, § 646. temere mollescet in eam levitatem, ut mites forsan aliquos Felicitatis ductus satis feliciter imitetur, quos autem graviores et austeros simul exprimere
Under the same hypothesis, §708, some Epicurean will follow the single pleasure which, if he has formed it in mind as easy and commonly familiar to the crowd, and has comprehended not the whole system of our heavenly Venus but only some little part of it, §646, he will rashly soften into such lightness that perhaps he imitates fairly happily some gentle strokes of Happiness. But the graver and austere strokes which
iubet horrida Virtus,
Armatumque Fide pectus, Rectique cupido,
Audita asperitate,
"With an Heart full of Rage, the Libyan stands
Before the Walls, and, instantly, Commands
The Deputies into the Camp to send
For Decius, whom rough Valour did commend,
And a Breast arm'd with Faith; a Soul inclin'd
To Justice, and then Capua a Minde
More great; who, with undaunted Courage, took
Those menacing Commands: ..."
Sil. XI. 305.
nolit laetioribus innectere, vel certe leviculo penicillo per male locatum spuriae lucis nitorem obducet, et hinc ponere totum nesciet sine fuco nimis florido. § 704. Peripateticorum in his theoriam denique sequutus a vero Felicitatis colore propius aberit. § 688.
Silius XI.305, he will not wish to weave in with the more cheerful ones, or at least will cover them with a rather light brush through the brightness of spurious light badly placed, and hence will not know how to set forth the whole without false coloring that is too florid, §704. Finally, one who follows the Peripatetic theory in these matters will be nearer to the true color of Happiness, §688.
Sub eadem hypothesi § 708. sequetur Epicureus aliquis unicam voluptatem,
Under the same hypothesis, §708, some Epicurean will follow the single pleasure
quam si formaverit animo, sicuti
which, if he has formed it in mind as
facilis est,
easy and commonly familiar to the crowd,
et in vulgus pervulgata, neque totum caelestis
and has comprehended not the whole system of
nostrae Veneris systema, sed eius aliquam modo particulam, mente comprehenderit, § 646.
our heavenly Venus but only some little part of it, §646,
temere mollescet in eam levitatem,
he will rashly soften into such lightness
ut mites forsan aliquos Felicitatis ductus satis feliciter imitetur,
that perhaps he imitates fairly happily some gentle strokes of Happiness.
quos autem graviores et austeros simul exprimere
But the graver and austere strokes which
iubet horrida Virtus,
Armatumque Fide pectus, Rectique cupido,
Audita asperitate,
"With an Heart full of Rage, the Libyan stands
Before the Walls, and, instantly, Commands
The Deputies into the Camp to send
For Decius, whom rough Valour did commend,
And a Breast arm'd with Faith; a Soul inclin'd
To Justice, and then Capua a Minde
More great; who, with undaunted Courage, took
Those menacing Commands: ..."
Sil. XI. 305. nolit laetioribus innectere,
Silius XI.305, he will not wish to weave in with
vel certe leviculo penicillo
the more cheerful ones, or at least will cover
per male locatum
them with a rather light brush through the brightness
spuriae lucis nitorem obducet, et hinc ponere totum
of spurious light badly placed, and hence will not
nesciet sine fuco
know how to set forth the whole without false
nimis florido. § 704.
coloring that is too florid, §704.
Peripateticorum in his
Finally, one who follows the Peripatetic theory in these
theoriam denique sequutus a vero Felicitatis colore propius aberit. § 688.
matters will be nearer to the true color of Happiness, §688.
Sub eadem hypothesi § 708. sequetur Epicureus aliquis unicam voluptatem, quam si formaverit animo, sicuti facilis est, et in vulgus pervulgata, neque totum caelestis nostrae Veneris systema, sed eius aliquam modo particulam, mente comprehenderit, § 646. temere mollescet in eam levitatem, ut mites forsan aliquos Felicitatis ductus satis feliciter imitetur, quos autem graviores et austeros simul exprimere / Under the same hypothesis, §708, some Epicurean will follow the single pleasure which, if he has formed it in mind as easy and commonly familiar to the crowd, and has comprehended not the whole system of our heavenly Venus but only some little part of it, §646, he will rashly soften into such lightness that perhaps he imitates fairly happily some gentle strokes of Happiness. But the graver and austere strokes which
iubet horrida Virtus,
Armatumque Fide pectus, Rectique cupido,
Audita asperitate,
"With an Heart full of Rage, the Libyan stands
Before the Walls, and, instantly, Commands
The Deputies into the Camp to send
For Decius, whom rough Valour did commend,
And a Breast arm'd with Faith; a Soul inclin'd
To Justice, and then Capua a Minde
More great; who, with undaunted Courage, took
Those menacing Commands: ..."
Sil. XI. 305. nolit laetioribus innectere, vel certe leviculo penicillo per male locatum spuriae lucis nitorem obducet, et hinc ponere totum nesciet sine fuco nimis florido. § 704. Peripateticorum in his theoriam denique sequutus a vero Felicitatis colore propius aberit. § 688. / Silius XI.305, he will not wish to weave in with the more cheerful ones, or at least will cover them with a rather light brush through the brightness of spurious light badly placed, and hence will not know how to set forth the whole without false coloring that is too florid, §704. Finally, one who follows the Peripatetic theory in these matters will be nearer to the true color of Happiness, §688.
§ 710
One who will think beautifully is bound to make
Catholica, id est, (ut dicamus, quomodo possumus) universalia, vel perpetualia.
It has always, therefore, been my custom not to tie myself down to universal or general rules (this being the nearest equivalent I can find for the Greek catholic rules).,
(Quint. II. 14.) de moribus, virtutibus et vitiis, ex veritate coloris aesthetici satis exacta, § 552. sibi familiaria reddere pulcre cogitaturus non tantum tenetur, si quando practica dogmatice tangere mens sit, § 707. sed etiam ideo, quia moratum de singularibus, quoque tum strictissime veris, tum heterocosmicis, cogitandi genus illis catholicis et generalibus, veluti notionibus directricibus, utitur in informandis singularium ideis § 653, 547. Si quis Cynicorum ex disciplina virtutem ac mores generatim fucis vero austerioribus adsperserit, virtutem etiam singularem certae personae, quam narrabit, vel finget, eam circumscribet, quae
Quintilian II.14, concerning morals, virtues, and vices familiar to himself from truth of aesthetic color that is sufficiently exact, §552, not only if he intends at some time to touch practical matters dogmatically, §707, but also because the moralized kind of thinking about singulars, whether strictly true or heterocosmic, uses those catholic and general things as directive notions in forming ideas of singulars, §§653, 547. If someone from the discipline of the Cynics sprinkles virtue and morals generally with false colorings more austere than the true, he will also circumscribe the singular virtue of a definite person whom he narrates or invents as one that seems
Sardois videatur amarior herbis,
Horridior rusco, proiecta vilior alga.
"Now may I seem more bitter to your taste
than herb Sardinian, rougher than the broom,
more worthless than strewn sea-weed,"
Virg. Ecl. VII.
Virgil, Eclogue VII.
One who will think beautifully is bound to make
Catholica, id est, (ut dicamus, quomodo possumus) universalia, vel perpetualia.
It has always, therefore, been my custom not to tie myself down to universal or general rules (this being the nearest equivalent I can find for the Greek catholic rules).,
(Quint. II. 14.) de moribus, virtutibus et vitiis, ex veritate coloris aesthetici satis exacta, § 552. sibi familiaria reddere pulcre cogitaturus non tantum tenetur, si quando practica dogmatice tangere mens sit, § 707. sed etiam ideo, quia moratum de singularibus, quoque tum strictissime veris, tum heterocosmicis, cogitandi genus illis catholicis et generalibus, veluti notionibus directricibus, utitur in informandis singularium ideis § 653, 547. Si quis Cynicorum ex disciplina virtutem ac mores generatim fucis vero austerioribus adsperserit, virtutem etiam singularem certae personae, quam narrabit, vel finget, eam circumscribet, quae
Quintilian II.14, concerning morals, virtues, and vices familiar to himself from truth of aesthetic color that is sufficiently exact, §552, not only if he intends at some time to touch practical matters dogmatically, §707, but also because the moralized kind of thinking about singulars, whether strictly true or heterocosmic, uses those catholic and general things as directive notions in forming ideas of singulars, §§653, 547. If someone from the discipline of the Cynics sprinkles virtue and morals generally with false colorings more austere than the true, he will also circumscribe the singular virtue of a definite person whom he narrates or invents as one that seems
Sardois videatur amarior herbis,
Horridior rusco, proiecta vilior alga.
"Now may I seem more bitter to your taste
than herb Sardinian, rougher than the broom,
more worthless than strewn sea-weed,"
Virg. Ecl. VII.
Virgil, Eclogue VII.
One who will think beautifully is bound to make
Catholica, id est, (ut dicamus, quomodo possumus) universalia, vel perpetualia.
It has always, therefore, been my custom not to tie myself down to universal or general rules (this being the nearest equivalent I can find for the Greek catholic rules).,
(Quint. II. 14.) de moribus, virtutibus et vitiis,
Quintilian II.14, concerning morals, virtues, and vices familiar to himself
ex veritate coloris aesthetici satis exacta, § 552.
from truth of aesthetic color that is sufficiently exact, §552,
sibi familiaria reddere pulcre cogitaturus non tantum tenetur,
not only
si quando practica dogmatice
if he intends at some time to touch practical matters dogmatically,
tangere mens sit, § 707. sed etiam ideo,
§707, but also
quia moratum de singularibus,
because the moralized kind of thinking about singulars,
quoque tum strictissime veris, tum heterocosmicis,
whether strictly true or heterocosmic,
cogitandi genus illis catholicis et generalibus, veluti notionibus directricibus,
uses those catholic and general things as directive notions
utitur in informandis singularium ideis § 653, 547.
in forming ideas of singulars, §§653, 547.
Si quis Cynicorum ex disciplina
If someone from the discipline of the Cynics
virtutem ac mores generatim
sprinkles virtue and morals generally with false colorings more
fucis vero austerioribus adsperserit, virtutem etiam
austere than the true, he will also circumscribe the
singularem certae personae, quam narrabit,
singular virtue of a definite person whom he narrates
vel finget, eam circumscribet, quae
or invents as one that seems
Sardois videatur amarior herbis,
Horridior rusco, proiecta vilior alga.
"Now may I seem more bitter to your taste
than herb Sardinian, rougher than the broom,
more worthless than strewn sea-weed,"
Virg. Ecl. VII.
Virgil, Eclogue VII.
/ One who will think beautifully is bound to make
Catholica, id est, (ut dicamus, quomodo possumus) universalia, vel perpetualia.
It has always, therefore, been my custom not to tie myself down to universal or general rules (this being the nearest equivalent I can find for the Greek catholic rules).,
(Quint. II. 14.) de moribus, virtutibus et vitiis, ex veritate coloris aesthetici satis exacta, § 552. sibi familiaria reddere pulcre cogitaturus non tantum tenetur, si quando practica dogmatice tangere mens sit, § 707. sed etiam ideo, quia moratum de singularibus, quoque tum strictissime veris, tum heterocosmicis, cogitandi genus illis catholicis et generalibus, veluti notionibus directricibus, utitur in informandis singularium ideis § 653, 547. Si quis Cynicorum ex disciplina virtutem ac mores generatim fucis vero austerioribus adsperserit, virtutem etiam singularem certae personae, quam narrabit, vel finget, eam circumscribet, quae / Quintilian II.14, concerning morals, virtues, and vices familiar to himself from truth of aesthetic color that is sufficiently exact, §552, not only if he intends at some time to touch practical matters dogmatically, §707, but also because the moralized kind of thinking about singulars, whether strictly true or heterocosmic, uses those catholic and general things as directive notions in forming ideas of singulars, §§653, 547. If someone from the discipline of the Cynics sprinkles virtue and morals generally with false colorings more austere than the true, he will also circumscribe the singular virtue of a definite person whom he narrates or invents as one that seems
Sardois videatur amarior herbis,
Horridior rusco, proiecta vilior alga.
"Now may I seem more bitter to your taste
than herb Sardinian, rougher than the broom,
more worthless than strewn sea-weed,"
Virg. Ecl. VII. / Virgil, Eclogue VII.
§ 711
Si quis in Aristippi praecepta delapsus est, proptereaque virtutem et morum institutionem omnem fucis nimium floridis exprimit, § 704. ex huius officina
If someone has slipped into the precepts of Aristippus and therefore expresses every institution of virtue and morals with false colorings too florid, §704, from this workshop even the
Virtutis verae custos rigidusque satelles,
"a maintainer and a rigid partisan of strict virtue;"
in concreto etiam, et individuo singulari spectandus, § 710. prodibit comtulus, venustulus, delicatulus, purpuram indutus, rosis coronatus, pastillos olens, uti
to be contemplated in the concrete and in the individual singular too, §710, will come forth rather neat, rather pretty, rather delicate, dressed in purple, crowned with roses, smelling of lozenges, as he
bibit Hymettia mella Falerno diluta,
"and don't drink anything but Hymettian honey qualified with Falernian wine."
among shining dishes and tables,
inter lances mensasque nitentes,
Dum stupet insanis acies fulgoribus, et quum
Acclinis falsis animus meliora recusat.
"learn, my good friends, not among dishes and splendid tables; when the eye is dazzled with the vain glare, and the mind, intent upon false appearances, refuses [to admit] better things;"
Hor. Serm. II. 2. 4.
Horace, Satires II.2.4.
Si quis in Aristippi praecepta delapsus est, proptereaque virtutem et morum institutionem omnem fucis nimium floridis exprimit, § 704. ex huius officina
If someone has slipped into the precepts of Aristippus and therefore expresses every institution of virtue and morals with false colorings too florid, §704, from this workshop even the
Virtutis verae custos rigidusque satelles,
"a maintainer and a rigid partisan of strict virtue;"
in concreto etiam, et individuo singulari spectandus, § 710. prodibit comtulus, venustulus, delicatulus, purpuram indutus, rosis coronatus, pastillos olens, uti
to be contemplated in the concrete and in the individual singular too, §710, will come forth rather neat, rather pretty, rather delicate, dressed in purple, crowned with roses, smelling of lozenges, as he
bibit Hymettia mella Falerno diluta,
"and don't drink anything but Hymettian honey qualified with Falernian wine."
among shining dishes and tables,
inter lances mensasque nitentes,
Dum stupet insanis acies fulgoribus, et quum
Acclinis falsis animus meliora recusat.
"learn, my good friends, not among dishes and splendid tables; when the eye is dazzled with the vain glare, and the mind, intent upon false appearances, refuses [to admit] better things;"
Hor. Serm. II. 2. 4.
Horace, Satires II.2.4.
Si quis in Aristippi praecepta delapsus est,
If someone has slipped into the precepts of Aristippus
proptereaque virtutem et morum
and therefore expresses every institution of virtue and morals
institutionem omnem fucis nimium floridis exprimit, § 704. ex huius officina
with false colorings too florid, §704, from this workshop even the
Virtutis verae custos rigidusque satelles,
"a maintainer and a rigid partisan of strict virtue;"
in concreto etiam,
to be contemplated in the concrete
et individuo singulari spectandus, § 710.
and in the individual singular too, §710,
prodibit comtulus, venustulus, delicatulus,
will come forth rather neat, rather pretty, rather delicate,
purpuram indutus, rosis coronatus, pastillos olens, uti
dressed in purple, crowned with roses, smelling of lozenges, as he
bibit Hymettia mella Falerno diluta,
"and don't drink anything but Hymettian honey qualified with Falernian wine."
among shining dishes and tables,
inter lances mensasque nitentes,
Dum stupet insanis acies fulgoribus, et quum
Acclinis falsis animus meliora recusat.
"learn, my good friends, not among dishes and splendid tables; when the eye is dazzled with the vain glare, and the mind, intent upon false appearances, refuses [to admit] better things;"
Hor. Serm. II. 2. 4.
Horace, Satires II.2.4.
Si quis in Aristippi praecepta delapsus est, proptereaque virtutem et morum institutionem omnem fucis nimium floridis exprimit, § 704. ex huius officina / If someone has slipped into the precepts of Aristippus and therefore expresses every institution of virtue and morals with false colorings too florid, §704, from this workshop even the
Virtutis verae custos rigidusque satelles,
"a maintainer and a rigid partisan of strict virtue;"
in concreto etiam, et individuo singulari spectandus, § 710. prodibit comtulus, venustulus, delicatulus, purpuram indutus, rosis coronatus, pastillos olens, uti / to be contemplated in the concrete and in the individual singular too, §710, will come forth rather neat, rather pretty, rather delicate, dressed in purple, crowned with roses, smelling of lozenges, as he
bibit Hymettia mella Falerno diluta,
"and don't drink anything but Hymettian honey qualified with Falernian wine."
/ among shining dishes and tables,
inter lances mensasque nitentes,
Dum stupet insanis acies fulgoribus, et quum
Acclinis falsis animus meliora recusat.
"learn, my good friends, not among dishes and splendid tables; when the eye is dazzled with the vain glare, and the mind, intent upon false appearances, refuses [to admit] better things;"
Hor. Serm. II. 2. 4. / Horace, Satires II.2.4.
§ 712
Quemadmodum omnis quidem eruditio, cum practica, tum theoretica, verior ad veriores rebus ad eam pertinentibus, et singularibus, quae sub se continet, inducendos colores multum facit, § 63–67; tamen nulla facilius fucum vitare dabit ingenio, quod natura mediocriter felix hanc solam imitabitur, quam corrupta praeconceptis opinionibus omnia falso colore tingentibus: § 707–711. sic praesertim artis aestheticae tum verioris magnum adiumentum est ad veros in rebus colores quaerendos, fugiendos fucos, § 68, 69. tum falsae praecepta plus nocent, quam si prorsus artem eiusmodi nescires, § 73. quoniam dum ea sequeris, ut tibi videtur, omnino securus, deliberato consilio naturam deseris fucos et pigmenta captans, § 688, 110. in quae forsan impetu mere naturali non incidisses, § 52.
Just as all truer erudition, both practical and theoretical, greatly helps in introducing truer colors to the things belonging to it and to the singulars contained under it, §§63–67, yet none will more easily allow a talent moderately happy by nature to avoid false coloring, since it will imitate nature alone, than erudition corrupted by preconceived opinions that dye everything with false color, §§707–711; so especially a truer aesthetic art is a great aid both for seeking true colors in things and for fleeing false colorings, §§68–69. But the precepts of a false aesthetic art do more harm than if you knew no such art at all, §73, because while you follow them, as it seems to you, wholly secure, you deliberately desert nature while hunting false colorings and pigments, §§688, 110, into which perhaps by mere natural impulse you would not have fallen, §52.
Quemadmodum omnis quidem eruditio, cum practica, tum theoretica, verior ad veriores rebus ad eam pertinentibus, et singularibus, quae sub se continet, inducendos colores multum facit, § 63–67; tamen nulla facilius fucum vitare dabit ingenio, quod natura mediocriter felix hanc solam imitabitur, quam corrupta praeconceptis opinionibus omnia falso colore tingentibus: § 707–711. sic praesertim artis aestheticae tum verioris magnum adiumentum est ad veros in rebus colores quaerendos, fugiendos fucos, § 68, 69. tum falsae praecepta plus nocent, quam si prorsus artem eiusmodi nescires, § 73. quoniam dum ea sequeris, ut tibi videtur, omnino securus, deliberato consilio naturam deseris fucos et pigmenta captans, § 688, 110. in quae forsan impetu mere naturali non incidisses, § 52.
Just as all truer erudition, both practical and theoretical, greatly helps in introducing truer colors to the things belonging to it and to the singulars contained under it, §§63–67, yet none will more easily allow a talent moderately happy by nature to avoid false coloring, since it will imitate nature alone, than erudition corrupted by preconceived opinions that dye everything with false color, §§707–711; so especially a truer aesthetic art is a great aid both for seeking true colors in things and for fleeing false colorings, §§68–69. But the precepts of a false aesthetic art do more harm than if you knew no such art at all, §73, because while you follow them, as it seems to you, wholly secure, you deliberately desert nature while hunting false colorings and pigments, §§688, 110, into which perhaps by mere natural impulse you would not have fallen, §52.
Quemadmodum omnis quidem eruditio, cum practica, tum theoretica,
Just as all truer erudition, both practical and theoretical,
verior ad veriores rebus
greatly helps in introducing truer colors to the things
ad eam pertinentibus, et singularibus,
belonging to it and to the singulars
quae sub se continet, inducendos colores multum facit, § 63–67;
contained under it, §§63–67,
tamen nulla
yet none will more easily allow a talent moderately
facilius fucum vitare dabit ingenio, quod
happy by nature to avoid false coloring,
natura mediocriter felix hanc solam imitabitur,
since it will imitate nature alone, than erudition
quam corrupta praeconceptis opinionibus omnia falso colore tingentibus:
corrupted by preconceived opinions that dye everything with false color,
§ 707–711. sic praesertim artis aestheticae tum verioris magnum
§§707–711; so especially a truer aesthetic art
adiumentum est ad
is a great aid both for seeking true
veros in rebus colores quaerendos,
colors in things and for fleeing false colorings, §§68–69.
fugiendos fucos, § 68, 69. tum falsae praecepta plus nocent,
But the precepts of a false aesthetic art do more harm
quam si prorsus artem eiusmodi nescires, § 73.
than if you knew no such art at all, §73,
quoniam dum ea sequeris, ut tibi videtur,
because while you follow them, as it seems to you,
omnino securus, deliberato consilio naturam deseris fucos et pigmenta
wholly secure, you deliberately desert nature while hunting false colorings and pigments,
captans, § 688, 110. in quae forsan impetu mere naturali
§§688, 110, into which perhaps by mere natural
non incidisses, § 52.
impulse you would not have fallen, §52.
Quemadmodum omnis quidem eruditio, cum practica, tum theoretica, verior ad veriores rebus ad eam pertinentibus, et singularibus, quae sub se continet, inducendos colores multum facit, § 63–67; tamen nulla facilius fucum vitare dabit ingenio, quod natura mediocriter felix hanc solam imitabitur, quam corrupta praeconceptis opinionibus omnia falso colore tingentibus: § 707–711. sic praesertim artis aestheticae tum verioris magnum adiumentum est ad veros in rebus colores quaerendos, fugiendos fucos, § 68, 69. tum falsae praecepta plus nocent, quam si prorsus artem eiusmodi nescires, § 73. quoniam dum ea sequeris, ut tibi videtur, omnino securus, deliberato consilio naturam deseris fucos et pigmenta captans, § 688, 110. in quae forsan impetu mere naturali non incidisses, § 52. / Just as all truer erudition, both practical and theoretical, greatly helps in introducing truer colors to the things belonging to it and to the singulars contained under it, §§63–67, yet none will more easily allow a talent moderately happy by nature to avoid false coloring, since it will imitate nature alone, than erudition corrupted by preconceived opinions that dye everything with false color, §§707–711; so especially a truer aesthetic art is a great aid both for seeking true colors in things and for fleeing false colorings, §§68–69. But the precepts of a false aesthetic art do more harm than if you knew no such art at all, §73, because while you follow them, as it seems to you, wholly secure, you deliberately desert nature while hunting false colorings and pigments, §§688, 110, into which perhaps by mere natural impulse you would not have fallen, §52.
§ 713
In deceptricibus artium aestheticarum, e. g. rhetoricarum, poeticarum, regulis non tanto cum periculo a veris coloribus ad fucos avocabunt omnino falsae, et adeo falsae, etiam aesthetice, ut ne pulcellam quidem aliquam veri speciem habeant, qua se tueantur: quam illae, quae tum magnis auctoritatibus defenduntur, tum in aliquibus locis exercentur commode, peccant autem in quantitate, quod logici dicunt, et catholicae cogitantur, quae tamen particulariter tantum verae sunt. § 73. Hinc aestheticis tantopere distinguendae paucae venustatum leges immutabili necessitate constrictae, a consiliis aliquando bonis,
Among deceptive rules of aesthetic arts, for example rhetorical and poetic rules, those wholly false and so false, even aesthetically, that they do not have even some pretty appearance of truth by which to defend themselves, will not call one away from true colors to false colorings with so much danger as those which are both defended by great authorities and usefully exercised in some places, but err in quantity, as the logicians say, and are thought catholic although they are only particularly true, §73. Hence in aesthetics the few laws of graces bound by immutable necessity must be so carefully distinguished from counsels that are sometimes good,
quae, velut si aliter fas non sit, quidam, tanquam iussi, sequuntur,
with all the other rules, which some speakers follow as though they had no choice but to regard them as orders and as if it were a crime to take any other line.,
non raro praepostere. Nam
not rarely in a preposterous way. For
mutantur pleraque praeceptorum caussis, temporibus, necessitate, occasione. Nulla rogationibus plebisve scitis sancta sunt. Decet, ut in picturis atque statuis videmus, variari habitus, vultus, status. Raro reperitur genus praeceptorum catholicorum, ut non labefactari parte aliqua et subrui possit.
But most rules are liable to be altered by the nature of the case, circumstances of time and place, and by hard necessity itself. ... For these rules have not the formal authority of laws or decrees of the plebs. ... But it is often expedient and occasionally becoming to make some modification in the time-honoured order. We see the same thing in pictures and statues. Dress, expression and attitude are frequently varied. ... For rules are rarely of such a kind that their validity cannot be shaken and overthrown in some particular or other.,
Quint. II. 14.
Quintilian II.14.
In deceptricibus artium aestheticarum, e. g. rhetoricarum, poeticarum, regulis non tanto cum periculo a veris coloribus ad fucos avocabunt omnino falsae, et adeo falsae, etiam aesthetice, ut ne pulcellam quidem aliquam veri speciem habeant, qua se tueantur: quam illae, quae tum magnis auctoritatibus defenduntur, tum in aliquibus locis exercentur commode, peccant autem in quantitate, quod logici dicunt, et catholicae cogitantur, quae tamen particulariter tantum verae sunt. § 73. Hinc aestheticis tantopere distinguendae paucae venustatum leges immutabili necessitate constrictae, a consiliis aliquando bonis,
Among deceptive rules of aesthetic arts, for example rhetorical and poetic rules, those wholly false and so false, even aesthetically, that they do not have even some pretty appearance of truth by which to defend themselves, will not call one away from true colors to false colorings with so much danger as those which are both defended by great authorities and usefully exercised in some places, but err in quantity, as the logicians say, and are thought catholic although they are only particularly true, §73. Hence in aesthetics the few laws of graces bound by immutable necessity must be so carefully distinguished from counsels that are sometimes good,
quae, velut si aliter fas non sit, quidam, tanquam iussi, sequuntur,
with all the other rules, which some speakers follow as though they had no choice but to regard them as orders and as if it were a crime to take any other line.,
non raro praepostere.
not rarely in a preposterous way.
Nam
For
mutantur pleraque praeceptorum caussis, temporibus, necessitate, occasione. Nulla rogationibus plebisve scitis sancta sunt. Decet, ut in picturis atque statuis videmus, variari habitus, vultus, status. Raro reperitur genus praeceptorum catholicorum, ut non labefactari parte aliqua et subrui possit.
But most rules are liable to be altered by the nature of the case, circumstances of time and place, and by hard necessity itself. ... For these rules have not the formal authority of laws or decrees of the plebs. ... But it is often expedient and occasionally becoming to make some modification in the time-honoured order. We see the same thing in pictures and statues. Dress, expression and attitude are frequently varied. ... For rules are rarely of such a kind that their validity cannot be shaken and overthrown in some particular or other.,
Quint. II. 14.
Quintilian II.14.
In deceptricibus artium aestheticarum, e. g.
Among deceptive rules of aesthetic arts, for example
rhetoricarum, poeticarum, regulis non tanto cum periculo a
rhetorical and poetic rules, those wholly
veris coloribus ad fucos avocabunt omnino falsae, et adeo falsae,
false and so false,
etiam aesthetice, ut ne pulcellam
even aesthetically, that they do not have even some
quidem aliquam veri speciem habeant, qua se tueantur:
pretty appearance of truth by which to defend themselves,
quam illae,
will not call one away from true colors
quae
to false colorings with so much danger as those
tum magnis auctoritatibus defenduntur,
which are both defended by great authorities and
tum in aliquibus locis exercentur commode,
usefully exercised in some places,
peccant autem in quantitate, quod logici dicunt,
but err in quantity, as the logicians say,
et catholicae cogitantur, quae tamen particulariter tantum verae sunt.
and are thought catholic although they are only particularly true,
§ 73. Hinc aestheticis tantopere distinguendae paucae
§73. Hence in aesthetics the few laws of graces
venustatum leges immutabili necessitate constrictae,
bound by immutable necessity must be so carefully distinguished
a consiliis aliquando bonis,
from counsels that are sometimes good,
quae, velut si aliter fas non sit, quidam, tanquam iussi, sequuntur,
with all the other rules, which some speakers follow as though they had no choice but to regard them as orders and as if it were a crime to take any other line.,
non raro praepostere.
not rarely in a preposterous way.
Nam
For
mutantur pleraque praeceptorum caussis, temporibus, necessitate, occasione. Nulla rogationibus plebisve scitis sancta sunt. Decet, ut in picturis atque statuis videmus, variari habitus, vultus, status. Raro reperitur genus praeceptorum catholicorum, ut non labefactari parte aliqua et subrui possit.
But most rules are liable to be altered by the nature of the case, circumstances of time and place, and by hard necessity itself. ... For these rules have not the formal authority of laws or decrees of the plebs. ... But it is often expedient and occasionally becoming to make some modification in the time-honoured order. We see the same thing in pictures and statues. Dress, expression and attitude are frequently varied. ... For rules are rarely of such a kind that their validity cannot be shaken and overthrown in some particular or other.,
Quint. II. 14.
Quintilian II.14.
In deceptricibus artium aestheticarum, e. g. rhetoricarum, poeticarum, regulis non tanto cum periculo a veris coloribus ad fucos avocabunt omnino falsae, et adeo falsae, etiam aesthetice, ut ne pulcellam quidem aliquam veri speciem habeant, qua se tueantur: quam illae, quae tum magnis auctoritatibus defenduntur, tum in aliquibus locis exercentur commode, peccant autem in quantitate, quod logici dicunt, et catholicae cogitantur, quae tamen particulariter tantum verae sunt. § 73. Hinc aestheticis tantopere distinguendae paucae venustatum leges immutabili necessitate constrictae, a consiliis aliquando bonis, / Among deceptive rules of aesthetic arts, for example rhetorical and poetic rules, those wholly false and so false, even aesthetically, that they do not have even some pretty appearance of truth by which to defend themselves, will not call one away from true colors to false colorings with so much danger as those which are both defended by great authorities and usefully exercised in some places, but err in quantity, as the logicians say, and are thought catholic although they are only particularly true, §73. Hence in aesthetics the few laws of graces bound by immutable necessity must be so carefully distinguished from counsels that are sometimes good,
quae, velut si aliter fas non sit, quidam, tanquam iussi, sequuntur,
with all the other rules, which some speakers follow as though they had no choice but to regard them as orders and as if it were a crime to take any other line.,
non raro praepostere. / not rarely in a preposterous way.
Nam / For
mutantur pleraque praeceptorum caussis, temporibus, necessitate, occasione. Nulla rogationibus plebisve scitis sancta sunt. Decet, ut in picturis atque statuis videmus, variari habitus, vultus, status. Raro reperitur genus praeceptorum catholicorum, ut non labefactari parte aliqua et subrui possit.
But most rules are liable to be altered by the nature of the case, circumstances of time and place, and by hard necessity itself. ... For these rules have not the formal authority of laws or decrees of the plebs. ... But it is often expedient and occasionally becoming to make some modification in the time-honoured order. We see the same thing in pictures and statues. Dress, expression and attitude are frequently varied. ... For rules are rarely of such a kind that their validity cannot be shaken and overthrown in some particular or other.,
Quint. II. 14. / Quintilian II.14.
§ 714
Quos regulae nimis laxae nondum satis a vero rerum colore deflectunt in fucos, horum multos eo contorquet caeca imitatio. Sentiunt amari probarique, licet
Many whom rules too lax do not yet sufficiently deflect from the true color of things into false colorings are twisted into them by blind imitation. They perceive that
horridulas, Catonis alicuius orationes.
Even the rude and unpolished Orations of Cato are a proof of this; as are likewise all our poets,
Cic. de Or. 152. et ecce! quoties placere volunt, ut subito horrescant! § 704.
are loved and approved, Cicero, De oratore I.52, and behold! whenever they wish to please, how suddenly they grow rough, §704.
Quid? si quis vultu torvo ferus, et pede nudo,
Exiguaeque togae simulet textore Catonem,
Virtutemne repraesentet moresque Catonis?
Decipit exemplar vitiis imitabile,
"What! if any savage, by a stern countenance and bare feet, and the texture of a scanty gown, should imitate Cato; will he represent the virtue and morals of Cato? The tongue that imitated Timagenes was the destruction of the Moor, while he affected to be humorous, and attempted to seem eloquent. The example that is imitable in its faults, deceives [the ignorant]."
Hor. I. ep. 19. 12.
Sentiunt alii delectari non paucos floribus poetarum et Curtii; Hinc tunc demum se disertos putant, quando quibuscunque datis occasionibus efflorescendo lasciviunt. § 254.
Horace, Epistles I.19.12. Others perceive that not a few are delighted by the flowers of poets and Curtius; hence they finally think themselves eloquent when, on any given occasions, they romp by blossoming forth, §254.
O! imitatores, servum pecus! ut mihi saepe
Bilem, saepe iocum vestri movere tumultus!
"O ye imitators, ye servile herd, how often your bustlings have stirred my bile, how often my mirth!"
Quos regulae nimis laxae nondum satis a vero rerum colore deflectunt in fucos, horum multos eo contorquet caeca imitatio.
Many whom rules too lax do not yet sufficiently deflect from the true color of things into false colorings are twisted into them by blind imitation.
Sentiunt amari probarique, licet
They perceive that
horridulas, Catonis alicuius orationes.
Even the rude and unpolished Orations of Cato are a proof of this; as are likewise all our poets,
Cic. de Or. 152. et ecce! quoties placere volunt, ut subito horrescant! § 704.
are loved and approved, Cicero, De oratore I.52, and behold! whenever they wish to please, how suddenly they grow rough, §704.
Quid? si quis vultu torvo ferus, et pede nudo,
Exiguaeque togae simulet textore Catonem,
Virtutemne repraesentet moresque Catonis?
Decipit exemplar vitiis imitabile,
"What! if any savage, by a stern countenance and bare feet, and the texture of a scanty gown, should imitate Cato; will he represent the virtue and morals of Cato? The tongue that imitated Timagenes was the destruction of the Moor, while he affected to be humorous, and attempted to seem eloquent. The example that is imitable in its faults, deceives [the ignorant]."
Hor. I. ep. 19. 12.
Sentiunt alii delectari non paucos floribus poetarum et Curtii; Hinc tunc demum se disertos putant, quando quibuscunque datis occasionibus efflorescendo lasciviunt. § 254.
Horace, Epistles I.19.12. Others perceive that not a few are delighted by the flowers of poets and Curtius; hence they finally think themselves eloquent when, on any given occasions, they romp by blossoming forth, §254.
O! imitatores, servum pecus! ut mihi saepe
Bilem, saepe iocum vestri movere tumultus!
"O ye imitators, ye servile herd, how often your bustlings have stirred my bile, how often my mirth!"
Quos regulae nimis laxae nondum satis
Many whom rules too lax do not yet sufficiently
a vero rerum colore deflectunt in fucos,
deflect from the true color of things into false
horum multos eo contorquet caeca imitatio.
colorings are twisted into them by blind imitation.
Sentiunt amari probarique, licet
They perceive that
horridulas, Catonis alicuius orationes.
Even the rude and unpolished Orations of Cato are a proof of this; as are likewise all our poets,
Cic. de Or. 152.
are loved and approved, Cicero, De oratore I.52,
et ecce! quoties placere volunt, ut subito horrescant!
and behold! whenever they wish to please, how suddenly they grow
§ 704.
rough, §704.
Quid? si quis vultu torvo ferus, et pede nudo,
Exiguaeque togae simulet textore Catonem,
Virtutemne repraesentet moresque Catonis?
Decipit exemplar vitiis imitabile,
"What! if any savage, by a stern countenance and bare feet, and the texture of a scanty gown, should imitate Cato; will he represent the virtue and morals of Cato? The tongue that imitated Timagenes was the destruction of the Moor, while he affected to be humorous, and attempted to seem eloquent. The example that is imitable in its faults, deceives [the ignorant]."
Hor. I. ep. 19. 12. Sentiunt alii delectari non
Horace, Epistles I.19.12. Others perceive that not
paucos floribus poetarum et Curtii;
a few are delighted by the flowers of poets and Curtius;
Hinc tunc demum se disertos putant,
hence they finally think themselves eloquent when,
quando quibuscunque datis occasionibus efflorescendo lasciviunt. § 254.
on any given occasions, they romp by blossoming forth, §254.
O! imitatores, servum pecus! ut mihi saepe
Bilem, saepe iocum vestri movere tumultus!
"O ye imitators, ye servile herd, how often your bustlings have stirred my bile, how often my mirth!"
Quos regulae nimis laxae nondum satis a vero rerum colore deflectunt in fucos, horum multos eo contorquet caeca imitatio. / Many whom rules too lax do not yet sufficiently deflect from the true color of things into false colorings are twisted into them by blind imitation.
Sentiunt amari probarique, licet / They perceive that
horridulas, Catonis alicuius orationes.
Even the rude and unpolished Orations of Cato are a proof of this; as are likewise all our poets,
Cic. de Or. 152. et ecce! quoties placere volunt, ut subito horrescant! § 704. / are loved and approved, Cicero, De oratore I.52, and behold! whenever they wish to please, how suddenly they grow rough, §704.
Quid? si quis vultu torvo ferus, et pede nudo,
Exiguaeque togae simulet textore Catonem,
Virtutemne repraesentet moresque Catonis?
Decipit exemplar vitiis imitabile,
"What! if any savage, by a stern countenance and bare feet, and the texture of a scanty gown, should imitate Cato; will he represent the virtue and morals of Cato? The tongue that imitated Timagenes was the destruction of the Moor, while he affected to be humorous, and attempted to seem eloquent. The example that is imitable in its faults, deceives [the ignorant]."
Hor. I. ep. 19. 12. Sentiunt alii delectari non paucos floribus poetarum et Curtii; Hinc tunc demum se disertos putant, quando quibuscunque datis occasionibus efflorescendo lasciviunt. § 254. / Horace, Epistles I.19.12. Others perceive that not a few are delighted by the flowers of poets and Curtius; hence they finally think themselves eloquent when, on any given occasions, they romp by blossoming forth, §254.
O! imitatores, servum pecus! ut mihi saepe
Bilem, saepe iocum vestri movere tumultus!
"O ye imitators, ye servile herd, how often your bustlings have stirred my bile, how often my mirth!"
§ 715
Laudabantur olim Atticorum venusta ingenia. Quorum genera plura sunt, hi, caeci imitatores. § 714.
The graceful talents of the Attics were once praised. Since there are several kinds of these, these blind imitators, §714,
unum modo, quale sit, suspicabantur. Putabant enim, qui horride inculteque dicat, modo id eleganter enucleateque faciat, eum solum attice dicere. Errabant, quod solum,
But though Atticism may be divided into several kinds, these mimic Athenians suspect but one. They imagine that to discourse plainly, and without any ornament, provided it be done correctly, and clearly, is the only genuine Atticism. In confining it to this alone, they are certainly mistaken;,
§ 713.
§713;
quod attice, non fallebantur.
In confining it to this alone, they are certainly mistaken; though when they tell us that this is really Attic, they are so far in the right.,
§ 694. Cic. or. 28. Interim, quantus eorum cunque fuerit error, non tamen potuit, quin iisdem aliquando fucos nimis horridos pro veris rerum floridarum coloribus commendaret. § 704, 248, 260. Nunc laudantur ex graecis et romanis auctores suo iure classici, iam austeris, iam floridis usi commodissime coloribus. In quorum imitatione quoniam inprimis
§694, Cicero, Orator 28. Meanwhile, however great their error was, it could not fail sometimes to commend to them colors too roughly false in place of true colors of florid things, §§704, 248, 260. Now Greek and Roman authors are rightly praised as classical, having very fittingly used now austere, now florid colors. Since in imitating them it must above all be considered
considerandum est, ne quid perturbate, ne quid contorte cogitetur,
And in framing this narration, it will be proper to take care that nothing be said in a confused or distorted manner; that no digression be made to any other subject;,
Cic. de Inv. I. 29. caeci imitatores, qui simile quantulumcumque suis deprehendisse per scripta classica satagunt, qui possent aliter, quam colores confundere, sicuti iura coqui, contortisque bellissimis ex Ciceronis alicuius aut omnino Demosthenis cogitandi rationibus ad alienissima fucum facere? § 688.
Cicero, De inventione I.29, how could blind imitators, who are eager to detect some tiny similarity to their own writings in classical texts, do anything other than confuse colors like cooks' sauces, and from the most beautiful thinking-ratios of some Cicero or even Demosthenes, twisted to the most alien things, make false coloring, §688?
Laudabantur olim Atticorum venusta ingenia.
The graceful talents of the Attics were once praised.
Quorum genera plura sunt, hi, caeci imitatores. § 714.
Since there are several kinds of these, these blind imitators, §714,
unum modo, quale sit, suspicabantur. Putabant enim, qui horride inculteque dicat, modo id eleganter enucleateque faciat, eum solum attice dicere. Errabant, quod solum,
But though Atticism may be divided into several kinds, these mimic Athenians suspect but one. They imagine that to discourse plainly, and without any ornament, provided it be done correctly, and clearly, is the only genuine Atticism. In confining it to this alone, they are certainly mistaken;,
§ 713.
§713;
quod attice, non fallebantur.
In confining it to this alone, they are certainly mistaken; though when they tell us that this is really Attic, they are so far in the right.,
§ 694. Cic. or. 28. Interim, quantus eorum cunque fuerit error, non tamen potuit, quin iisdem aliquando fucos nimis horridos pro veris rerum floridarum coloribus commendaret. § 704, 248, 260. Nunc laudantur ex graecis et romanis auctores suo iure classici, iam austeris, iam floridis usi commodissime coloribus.
§694, Cicero, Orator 28. Meanwhile, however great their error was, it could not fail sometimes to commend to them colors too roughly false in place of true colors of florid things, §§704, 248, 260. Now Greek and Roman authors are rightly praised as classical, having very fittingly used now austere, now florid colors.
In quorum imitatione quoniam inprimis
Since in imitating them it must above all be considered
considerandum est, ne quid perturbate, ne quid contorte cogitetur,
And in framing this narration, it will be proper to take care that nothing be said in a confused or distorted manner; that no digression be made to any other subject;,
Cic. de Inv. I. 29. caeci imitatores, qui simile quantulumcumque suis deprehendisse per scripta classica satagunt, qui possent aliter, quam colores confundere, sicuti iura coqui, contortisque bellissimis ex Ciceronis alicuius aut omnino Demosthenis cogitandi rationibus ad alienissima fucum facere? § 688.
Cicero, De inventione I.29, how could blind imitators, who are eager to detect some tiny similarity to their own writings in classical texts, do anything other than confuse colors like cooks' sauces, and from the most beautiful thinking-ratios of some Cicero or even Demosthenes, twisted to the most alien things, make false coloring, §688?
Laudabantur olim Atticorum venusta ingenia.
The graceful talents of the Attics were once praised.
Quorum genera plura sunt, hi, caeci imitatores. § 714.
Since there are several kinds of these, these blind imitators, §714,
unum modo, quale sit, suspicabantur. Putabant enim, qui horride inculteque dicat, modo id eleganter enucleateque faciat, eum solum attice dicere. Errabant, quod solum,
But though Atticism may be divided into several kinds, these mimic Athenians suspect but one. They imagine that to discourse plainly, and without any ornament, provided it be done correctly, and clearly, is the only genuine Atticism. In confining it to this alone, they are certainly mistaken;,
§ 713.
§713;
quod attice, non fallebantur.
In confining it to this alone, they are certainly mistaken; though when they tell us that this is really Attic, they are so far in the right.,
§ 694. Cic. or. 28. Interim, quantus eorum cunque fuerit error,
§694, Cicero, Orator 28. Meanwhile, however great their error
non tamen potuit,
was, it could not fail
quin iisdem aliquando fucos nimis
sometimes to commend to them colors too
horridos pro veris rerum floridarum coloribus commendaret.
roughly false in place of true colors of
§ 704, 248, 260. Nunc laudantur ex graecis
florid things, §§704, 248, 260. Now Greek
et romanis auctores suo iure classici,
and Roman authors are rightly praised as classical,
iam austeris, iam floridis usi commodissime coloribus.
having very fittingly used now austere, now florid colors.
In quorum imitatione quoniam inprimis
Since in imitating them it must above all be considered
considerandum est, ne quid perturbate, ne quid contorte cogitetur,
And in framing this narration, it will be proper to take care that nothing be said in a confused or distorted manner; that no digression be made to any other subject;,
Cic. de Inv. I. 29.
Cicero, De inventione I.29, how could
caeci imitatores, qui simile quantulumcumque suis
blind imitators, who are eager to detect some tiny
deprehendisse per scripta classica satagunt, qui
similarity to their own writings in classical texts,
possent aliter, quam colores confundere, sicuti iura coqui, contortisque
do anything other than confuse colors like cooks' sauces,
bellissimis ex Ciceronis
and from the most beautiful thinking-ratios of some Cicero
alicuius aut omnino Demosthenis cogitandi rationibus ad alienissima
or even Demosthenes, twisted to the most alien things,
fucum facere? § 688.
make false coloring, §688?
Laudabantur olim Atticorum venusta ingenia. / The graceful talents of the Attics were once praised.
Quorum genera plura sunt, hi, caeci imitatores. § 714. / Since there are several kinds of these, these blind imitators, §714,
unum modo, quale sit, suspicabantur. Putabant enim, qui horride inculteque dicat, modo id eleganter enucleateque faciat, eum solum attice dicere. Errabant, quod solum,
But though Atticism may be divided into several kinds, these mimic Athenians suspect but one. They imagine that to discourse plainly, and without any ornament, provided it be done correctly, and clearly, is the only genuine Atticism. In confining it to this alone, they are certainly mistaken;,
§ 713. / §713;
quod attice, non fallebantur.
In confining it to this alone, they are certainly mistaken; though when they tell us that this is really Attic, they are so far in the right.,
§ 694. Cic. or. 28. Interim, quantus eorum cunque fuerit error, non tamen potuit, quin iisdem aliquando fucos nimis horridos pro veris rerum floridarum coloribus commendaret. § 704, 248, 260. Nunc laudantur ex graecis et romanis auctores suo iure classici, iam austeris, iam floridis usi commodissime coloribus. / §694, Cicero, Orator 28. Meanwhile, however great their error was, it could not fail sometimes to commend to them colors too roughly false in place of true colors of florid things, §§704, 248, 260. Now Greek and Roman authors are rightly praised as classical, having very fittingly used now austere, now florid colors.
In quorum imitatione quoniam inprimis / Since in imitating them it must above all be considered
considerandum est, ne quid perturbate, ne quid contorte cogitetur,
And in framing this narration, it will be proper to take care that nothing be said in a confused or distorted manner; that no digression be made to any other subject;,
Cic. de Inv. I. 29. caeci imitatores, qui simile quantulumcumque suis deprehendisse per scripta classica satagunt, qui possent aliter, quam colores confundere, sicuti iura coqui, contortisque bellissimis ex Ciceronis alicuius aut omnino Demosthenis cogitandi rationibus ad alienissima fucum facere? § 688. / Cicero, De inventione I.29, how could blind imitators, who are eager to detect some tiny similarity to their own writings in classical texts, do anything other than confuse colors like cooks' sauces, and from the most beautiful thinking-ratios of some Cicero or even Demosthenes, twisted to the most alien things, make false coloring, §688?
§ 716
Colores floridi
Florid colors
maxime sensus nostros impellunt voluptate, et specie prima acerrime commovent. Saepe tamen ab iisdem celerrime fastidio quodam et satietate abalienamur.
for it is difficult to tell what the cause is why, from those objects which most strongly strike our senses with pleasure, and occasion the most violent emotions at their first appearance, we should soonest turn away with a certain loathing, when we are sated.,
§ 693.
§693.
Quanto colorum pulcritudine et varietate floridiora sunt in picturis novis pleraque, quam in veteribus? Quae tamen, etiamsi primo aspectu nos ceperunt, diutius non delectant, quum iidem nos in antiquis tabulis illo ipso horrido obsoletoque teneamur. Quanto molliores sunt et delicatiores in cantu flexiones et falsae voculae, quam certae et severae? quibus tamen non modo austeri, sed si saepius fiunt, multitudo ipsa reclamat.
How much more florid, in the gaiety and variety of the colouring, are most objects in modern pictures than in ancient ones; which, however, though they captivate us at first sight, do not afford any lasting pleasure; whereas we are strongly attracted by rough and faded colouring in the paintings of antiquity. How much softer and more delicate are fanciful modulations and notes in music, than those which are strict and grave; and yet if the former are often repeated, not only persons of an austere character, but even the multitude, raise an outcry against them.,
Cic. de or. III. 98. cf. 99–103. et habebis praeclarum in fucos nimis floridos antidoton. § 704.
Cicero, De oratore III.98; compare 99–103, and you will have a splendid antidote against false colorings too florid, §704.
Colores floridi
Florid colors
maxime sensus nostros impellunt voluptate, et specie prima acerrime commovent. Saepe tamen ab iisdem celerrime fastidio quodam et satietate abalienamur.
for it is difficult to tell what the cause is why, from those objects which most strongly strike our senses with pleasure, and occasion the most violent emotions at their first appearance, we should soonest turn away with a certain loathing, when we are sated.,
§ 693.
§693.
Quanto colorum pulcritudine et varietate floridiora sunt in picturis novis pleraque, quam in veteribus? Quae tamen, etiamsi primo aspectu nos ceperunt, diutius non delectant, quum iidem nos in antiquis tabulis illo ipso horrido obsoletoque teneamur. Quanto molliores sunt et delicatiores in cantu flexiones et falsae voculae, quam certae et severae? quibus tamen non modo austeri, sed si saepius fiunt, multitudo ipsa reclamat.
How much more florid, in the gaiety and variety of the colouring, are most objects in modern pictures than in ancient ones; which, however, though they captivate us at first sight, do not afford any lasting pleasure; whereas we are strongly attracted by rough and faded colouring in the paintings of antiquity. How much softer and more delicate are fanciful modulations and notes in music, than those which are strict and grave; and yet if the former are often repeated, not only persons of an austere character, but even the multitude, raise an outcry against them.,
Cic. de or. III. 98. cf. 99–103. et habebis praeclarum in fucos nimis floridos antidoton. § 704.
Cicero, De oratore III.98; compare 99–103, and you will have a splendid antidote against false colorings too florid, §704.
Colores floridi
Florid colors
maxime sensus nostros impellunt voluptate, et specie prima acerrime commovent. Saepe tamen ab iisdem celerrime fastidio quodam et satietate abalienamur.
for it is difficult to tell what the cause is why, from those objects which most strongly strike our senses with pleasure, and occasion the most violent emotions at their first appearance, we should soonest turn away with a certain loathing, when we are sated.,
§ 693.
§693.
Quanto colorum pulcritudine et varietate floridiora sunt in picturis novis pleraque, quam in veteribus? Quae tamen, etiamsi primo aspectu nos ceperunt, diutius non delectant, quum iidem nos in antiquis tabulis illo ipso horrido obsoletoque teneamur. Quanto molliores sunt et delicatiores in cantu flexiones et falsae voculae, quam certae et severae? quibus tamen non modo austeri, sed si saepius fiunt, multitudo ipsa reclamat.
How much more florid, in the gaiety and variety of the colouring, are most objects in modern pictures than in ancient ones; which, however, though they captivate us at first sight, do not afford any lasting pleasure; whereas we are strongly attracted by rough and faded colouring in the paintings of antiquity. How much softer and more delicate are fanciful modulations and notes in music, than those which are strict and grave; and yet if the former are often repeated, not only persons of an austere character, but even the multitude, raise an outcry against them.,
Cic. de or. III. 98. cf. 99–103.
Cicero, De oratore III.98; compare 99–103,
et habebis praeclarum in fucos nimis floridos
and you will have a splendid antidote against false colorings too florid,
antidoton. § 704.
§704.
Colores floridi / Florid colors
maxime sensus nostros impellunt voluptate, et specie prima acerrime commovent. Saepe tamen ab iisdem celerrime fastidio quodam et satietate abalienamur.
for it is difficult to tell what the cause is why, from those objects which most strongly strike our senses with pleasure, and occasion the most violent emotions at their first appearance, we should soonest turn away with a certain loathing, when we are sated.,
§ 693. / §693.
Quanto colorum pulcritudine et varietate floridiora sunt in picturis novis pleraque, quam in veteribus? Quae tamen, etiamsi primo aspectu nos ceperunt, diutius non delectant, quum iidem nos in antiquis tabulis illo ipso horrido obsoletoque teneamur. Quanto molliores sunt et delicatiores in cantu flexiones et falsae voculae, quam certae et severae? quibus tamen non modo austeri, sed si saepius fiunt, multitudo ipsa reclamat.
How much more florid, in the gaiety and variety of the colouring, are most objects in modern pictures than in ancient ones; which, however, though they captivate us at first sight, do not afford any lasting pleasure; whereas we are strongly attracted by rough and faded colouring in the paintings of antiquity. How much softer and more delicate are fanciful modulations and notes in music, than those which are strict and grave; and yet if the former are often repeated, not only persons of an austere character, but even the multitude, raise an outcry against them.,
Cic. de or. III. 98. cf. 99–103. et habebis praeclarum in fucos nimis floridos antidoton. § 704. / Cicero, De oratore III.98; compare 99–103, and you will have a splendid antidote against false colorings too florid, §704.
§ 717
Interim pluribus fucus nimis floridus est suspectus, quam nimis austerus. Minium his, cinnabaris, indicum et purpurissum, facilius fuci iudicantur, quam fucati etiam
Meanwhile false coloring too florid is suspect to more people than false coloring too austere. Vermilion, cinnabar, indigo, and purple are more easily judged false color by them than faces, even false-colored,
peruncti faecibus ora.
"which [certain strollers], who had their faces besmeared with lees of wine, sang and acted."
Austeram accusationem qui parat, si vel omnes humanitatis terminos transiliat, veritatem odium parientem se pingere, non fucum, sibi videbitur, austeram curationem propinare, non nigrae loliginis succum et meram aeruginem. Austeritatem ut nimis tristem effugiat, vel removendo floridorum mentionem iniicit Ovidius, Trist. I. 1.
One who prepares an austere accusation, even if he leaps over all boundaries of humanity, will seem to himself to paint truth that produces hatred, not false coloring; to offer an austere cure, not the juice of black cuttlefish and mere verdigris. To escape austerity as too sad, Ovid, even by removing them, introduces mention of florid things in Tristia I.1:
Nec te purpureo velent vaccinia fuco,
Non est conveniens luctibus ille color.
Nec titulus minio, neque cedro charta notetur,
Candida nec nigra cornua fronte geras.
Felices ornent haec instrumenta libellos,
Fortunae memorem te decet esse meae.
"You shall have no cover dyed with the juice of purple berries—no fit colour is that for mourning; your title shall not be tinged with vermilion nor your paper with oil of cedar; and you shall wear no white bosses upon your dark edges. Books of good omen should be decked with such things as these; 'tis my fate that you should bear in mind."
Interim pluribus fucus nimis floridus est suspectus, quam nimis austerus.
Meanwhile false coloring too florid is suspect to more people than false coloring too austere.
Minium his, cinnabaris, indicum et purpurissum, facilius fuci iudicantur, quam fucati etiam
Vermilion, cinnabar, indigo, and purple are more easily judged false color by them than faces, even false-colored,
peruncti faecibus ora.
"which [certain strollers], who had their faces besmeared with lees of wine, sang and acted."
Austeram accusationem qui parat, si vel omnes humanitatis terminos transiliat, veritatem odium parientem se pingere, non fucum, sibi videbitur, austeram curationem propinare, non nigrae loliginis succum et meram aeruginem.
One who prepares an austere accusation, even if he leaps over all boundaries of humanity, will seem to himself to paint truth that produces hatred, not false coloring; to offer an austere cure, not the juice of black cuttlefish and mere verdigris.
Austeritatem ut nimis tristem effugiat, vel removendo floridorum mentionem iniicit Ovidius, Trist. I. 1.
To escape austerity as too sad, Ovid, even by removing them, introduces mention of florid things in Tristia I.1:
Nec te purpureo velent vaccinia fuco,
Non est conveniens luctibus ille color.
Nec titulus minio, neque cedro charta notetur,
Candida nec nigra cornua fronte geras.
Felices ornent haec instrumenta libellos,
Fortunae memorem te decet esse meae.
"You shall have no cover dyed with the juice of purple berries—no fit colour is that for mourning; your title shall not be tinged with vermilion nor your paper with oil of cedar; and you shall wear no white bosses upon your dark edges. Books of good omen should be decked with such things as these; 'tis my fate that you should bear in mind."
Interim pluribus fucus nimis floridus est suspectus,
Meanwhile false coloring too florid is suspect
quam nimis austerus.
to more people than false coloring too austere.
Minium his, cinnabaris, indicum et purpurissum,
Vermilion, cinnabar, indigo, and purple are more easily
facilius fuci iudicantur, quam fucati etiam
judged false color by them than faces, even false-colored,
peruncti faecibus ora.
"which [certain strollers], who had their faces besmeared with lees of wine, sang and acted."
Austeram accusationem qui parat,
One who prepares an austere accusation, even
si vel omnes humanitatis
if he leaps over all boundaries of humanity,
terminos transiliat, veritatem odium parientem se pingere,
will seem to himself to paint
non fucum, sibi
truth that produces hatred, not false coloring;
videbitur, austeram curationem propinare,
to offer an austere cure,
non nigrae loliginis succum et meram aeruginem.
not the juice of black cuttlefish and mere verdigris.
Austeritatem ut nimis tristem effugiat,
To escape austerity as too sad, Ovid,
vel removendo floridorum mentionem iniicit Ovidius, Trist.
even by removing them, introduces mention of florid things in Tristia
I. 1.
I.1:
Nec te purpureo velent vaccinia fuco,
Non est conveniens luctibus ille color.
Nec titulus minio, neque cedro charta notetur,
Candida nec nigra cornua fronte geras.
Felices ornent haec instrumenta libellos,
Fortunae memorem te decet esse meae.
"You shall have no cover dyed with the juice of purple berries—no fit colour is that for mourning; your title shall not be tinged with vermilion nor your paper with oil of cedar; and you shall wear no white bosses upon your dark edges. Books of good omen should be decked with such things as these; 'tis my fate that you should bear in mind."
Interim pluribus fucus nimis floridus est suspectus, quam nimis austerus. / Meanwhile false coloring too florid is suspect to more people than false coloring too austere.
Minium his, cinnabaris, indicum et purpurissum, facilius fuci iudicantur, quam fucati etiam / Vermilion, cinnabar, indigo, and purple are more easily judged false color by them than faces, even false-colored,
peruncti faecibus ora.
"which [certain strollers], who had their faces besmeared with lees of wine, sang and acted."
Austeram accusationem qui parat, si vel omnes humanitatis terminos transiliat, veritatem odium parientem se pingere, non fucum, sibi videbitur, austeram curationem propinare, non nigrae loliginis succum et meram aeruginem. / One who prepares an austere accusation, even if he leaps over all boundaries of humanity, will seem to himself to paint truth that produces hatred, not false coloring; to offer an austere cure, not the juice of black cuttlefish and mere verdigris.
Austeritatem ut nimis tristem effugiat, vel removendo floridorum mentionem iniicit Ovidius, Trist. I. 1. / To escape austerity as too sad, Ovid, even by removing them, introduces mention of florid things in Tristia I.1:
Nec te purpureo velent vaccinia fuco,
Non est conveniens luctibus ille color.
Nec titulus minio, neque cedro charta notetur,
Candida nec nigra cornua fronte geras.
Felices ornent haec instrumenta libellos,
Fortunae memorem te decet esse meae.
"You shall have no cover dyed with the juice of purple berries—no fit colour is that for mourning; your title shall not be tinged with vermilion nor your paper with oil of cedar; and you shall wear no white bosses upon your dark edges. Books of good omen should be decked with such things as these; 'tis my fate that you should bear in mind."
§ 718
Pari artificio Apelles excelluit, quod
Apelles excelled by a similar artifice, which
unum imitari nemo potuit. Absoluta opera atramento illinebat ita tenui, ut id ipsum repercussu claritates colorum excitaret, custodiretque a pulvere et sordibus, ad manum intuenti demum appareret. Sed et tum ratione magna, ne colorum claritas oculorum aciem offenderet, veluti per lapidem specularem intuentibus e longinquo, et eadem res nimis floridis coloribus austeritatem occulte daret.
His inventions, too, in the art of painting, have been highly serviceable to others; but one thing there was in which no one could imitate him. When his works were finished, he used to cover them with a black varnish, of such remarkable thinness, that while by the reflection it gave more vivacity to the colours, and preserved them from the contact of dust and dirt, its existence could only be detected by a person when close enough to touch it. In addition to this, there was also this other great advantage attending it: the brightness of the colours was softened thereby, and harmonized to the sight, looking as though they had been viewed from a distance, and through a medium of specular-stone; the contrivance, by some indescribable means, giving a sombreness to colours which would otherwise have been too florid.,
Plin. hist. nat. XXXV. 10. Tantae molis est poetae fucum nimis austerum et tristem, pictori nimis floridum sollicite vitare. § 717. Vereor tamen, ne festivum illud, quod aiunt, apud Ovidium Trist. I. III. 10. habeat aliquid fucosi lenocinii:
Pliny, Natural History XXXV.10. Of such great labor it is for the poet anxiously to avoid false coloring too austere and sad, and for the painter too florid, §717. Yet I fear that the festive line, as they call it, in Ovid, Tristia I.3.10, has something of false-colored charm:
Clauda quod alterno subsidunt carmina versu,
Vel pedis hoc ratio, vel via longa facit.
Adspicis exsangui chartam pallere colore?
Immo vero, quia non erubescunt epistolae.
"If the lame couplets halt in alternate verses, 'tis due to the metre's nature or to the length of the journey; ... See you my paper pale with bloodless colour? See you each alternate foot tremble?"
Pari artificio Apelles excelluit, quod
Apelles excelled by a similar artifice, which
unum imitari nemo potuit. Absoluta opera atramento illinebat ita tenui, ut id ipsum repercussu claritates colorum excitaret, custodiretque a pulvere et sordibus, ad manum intuenti demum appareret. Sed et tum ratione magna, ne colorum claritas oculorum aciem offenderet, veluti per lapidem specularem intuentibus e longinquo, et eadem res nimis floridis coloribus austeritatem occulte daret.
His inventions, too, in the art of painting, have been highly serviceable to others; but one thing there was in which no one could imitate him. When his works were finished, he used to cover them with a black varnish, of such remarkable thinness, that while by the reflection it gave more vivacity to the colours, and preserved them from the contact of dust and dirt, its existence could only be detected by a person when close enough to touch it. In addition to this, there was also this other great advantage attending it: the brightness of the colours was softened thereby, and harmonized to the sight, looking as though they had been viewed from a distance, and through a medium of specular-stone; the contrivance, by some indescribable means, giving a sombreness to colours which would otherwise have been too florid.,
Plin. hist. nat.
Pliny, Natural History XXXV.10.
XXXV. 10. Tantae molis est poetae fucum nimis austerum et tristem, pictori nimis floridum sollicite vitare. § 717. Vereor tamen, ne festivum illud, quod aiunt, apud Ovidium Trist. I. III. 10. habeat aliquid fucosi lenocinii:
Of such great labor it is for the poet anxiously to avoid false coloring too austere and sad, and for the painter too florid, §717. Yet I fear that the festive line, as they call it, in Ovid, Tristia I.3.10, has something of false-colored charm:
Clauda quod alterno subsidunt carmina versu,
Vel pedis hoc ratio, vel via longa facit.
Adspicis exsangui chartam pallere colore?
Immo vero, quia non erubescunt epistolae.
"If the lame couplets halt in alternate verses, 'tis due to the metre's nature or to the length of the journey; ... See you my paper pale with bloodless colour? See you each alternate foot tremble?"
Pari artificio Apelles excelluit, quod
Apelles excelled by a similar artifice, which
unum imitari nemo potuit. Absoluta opera atramento illinebat ita tenui, ut id ipsum repercussu claritates colorum excitaret, custodiretque a pulvere et sordibus, ad manum intuenti demum appareret. Sed et tum ratione magna, ne colorum claritas oculorum aciem offenderet, veluti per lapidem specularem intuentibus e longinquo, et eadem res nimis floridis coloribus austeritatem occulte daret.
His inventions, too, in the art of painting, have been highly serviceable to others; but one thing there was in which no one could imitate him. When his works were finished, he used to cover them with a black varnish, of such remarkable thinness, that while by the reflection it gave more vivacity to the colours, and preserved them from the contact of dust and dirt, its existence could only be detected by a person when close enough to touch it. In addition to this, there was also this other great advantage attending it: the brightness of the colours was softened thereby, and harmonized to the sight, looking as though they had been viewed from a distance, and through a medium of specular-stone; the contrivance, by some indescribable means, giving a sombreness to colours which would otherwise have been too florid.,
Plin. hist. nat.
Pliny, Natural History XXXV.10.
XXXV. 10. Tantae molis est poetae
Of such great labor it is for the poet
fucum nimis austerum et tristem,
anxiously to avoid false coloring too austere and sad,
pictori nimis floridum sollicite vitare. § 717.
and for the painter too florid, §717.
Vereor tamen, ne festivum illud, quod aiunt,
Yet I fear that the festive line, as they
apud Ovidium Trist. I. III. 10.
call it, in Ovid, Tristia I.3.10,
habeat aliquid fucosi lenocinii:
has something of false-colored charm:
Clauda quod alterno subsidunt carmina versu,
Vel pedis hoc ratio, vel via longa facit.
Adspicis exsangui chartam pallere colore?
Immo vero, quia non erubescunt epistolae.
"If the lame couplets halt in alternate verses, 'tis due to the metre's nature or to the length of the journey; ... See you my paper pale with bloodless colour? See you each alternate foot tremble?"
Pari artificio Apelles excelluit, quod / Apelles excelled by a similar artifice, which
unum imitari nemo potuit. Absoluta opera atramento illinebat ita tenui, ut id ipsum repercussu claritates colorum excitaret, custodiretque a pulvere et sordibus, ad manum intuenti demum appareret. Sed et tum ratione magna, ne colorum claritas oculorum aciem offenderet, veluti per lapidem specularem intuentibus e longinquo, et eadem res nimis floridis coloribus austeritatem occulte daret.
His inventions, too, in the art of painting, have been highly serviceable to others; but one thing there was in which no one could imitate him. When his works were finished, he used to cover them with a black varnish, of such remarkable thinness, that while by the reflection it gave more vivacity to the colours, and preserved them from the contact of dust and dirt, its existence could only be detected by a person when close enough to touch it. In addition to this, there was also this other great advantage attending it: the brightness of the colours was softened thereby, and harmonized to the sight, looking as though they had been viewed from a distance, and through a medium of specular-stone; the contrivance, by some indescribable means, giving a sombreness to colours which would otherwise have been too florid.,
Plin. hist. nat. / Pliny, Natural History XXXV.10.
XXXV. 10. Tantae molis est poetae fucum nimis austerum et tristem, pictori nimis floridum sollicite vitare. § 717. Vereor tamen, ne festivum illud, quod aiunt, apud Ovidium Trist. I. III. 10. habeat aliquid fucosi lenocinii: / Of such great labor it is for the poet anxiously to avoid false coloring too austere and sad, and for the painter too florid, §717. Yet I fear that the festive line, as they call it, in Ovid, Tristia I.3.10, has something of false-colored charm:
Clauda quod alterno subsidunt carmina versu,
Vel pedis hoc ratio, vel via longa facit.
Adspicis exsangui chartam pallere colore?
Immo vero, quia non erubescunt epistolae.
"If the lame couplets halt in alternate verses, 'tis due to the metre's nature or to the length of the journey; ... See you my paper pale with bloodless colour? See you each alternate foot tremble?"
§ 719
Vitiosum et corruptum cogitandi genus, quod huc usque fucum appellavimus, § 688. Quintilianus dicit
The vicious and corrupt kind of thinking which up to this point we have called false coloring, §688, Quintilian calls
casuris, si leviter excutiantur, flosculis nitens, evanescens ac moriens,
They make the gravest mistake who consider that the style which is best adapted to win popularity and applause is a faulty and corrupt style of speaking which ... adorns itself with blossoms of eloquence which will fall to earth if but lightly shaken.... [W]hen such displays are compared with their betters, they sink into insignificance and fade out of sight....;
ut reliqua vitiosa cogitandi genera, comparatione meliorum,
like the other vicious kinds of thinking, by comparison with better things,
quemadmodum lana tincta fuco citra purpuras placet, ac, si contuleris etiam lacernae, conspectu melioris obruitur. Si vero iudicium his corruptis acrius adhibeas, ut fucinis sulphura, iam illud, quod fefellerat, exuat mentitum colorem, et quadam vix enarrabili foeditate pallescat. Luceat igitur haec citra solem, et ut quaedam exigua animalia igniculi videntur in tenebris.
They are like wool dyed red that pleases in the absence of purple, but, as Ovid says, if compared with a cloak of Tyrian dye, pales in the presence of the fairer hue. If, however, we test such corrupt eloquence by the touchstone of a critical taste, as, for example, we test inferior dyes with sulphur, it will lay aside the false brilliance that deceived the eye and fade to a pallor almost too repulsive to describe. Such passages shine only in the absence of the sunlight, just as certain tiny insects seem transformed in the darkness to little flames of fire.,
XII. 10. Si protraxeris fucatam eiusmodi Venerem ex angulis et umbra in solem et maioris theatri celebritatem, nec illi,
XII.10. If you drag such a false-colored Venus from corners and shade into the sun and the crowdedness of a greater theater, there no longer remains for her
iam manet humida creta, colorque
Stercore fucatus crocodili.
"now she has no longer the advantage of moist cosmetics, and her color
appears as if stained with crocodile's ordure"
Hor. ep. od. XII.
Horace, Epodes XII.
Vitiosum et corruptum cogitandi genus, quod huc usque fucum appellavimus, § 688. Quintilianus dicit
The vicious and corrupt kind of thinking which up to this point we have called false coloring, §688, Quintilian calls
casuris, si leviter excutiantur, flosculis nitens, evanescens ac moriens,
They make the gravest mistake who consider that the style which is best adapted to win popularity and applause is a faulty and corrupt style of speaking which ... adorns itself with blossoms of eloquence which will fall to earth if but lightly shaken.... [W]hen such displays are compared with their betters, they sink into insignificance and fade out of sight....;
ut reliqua vitiosa cogitandi genera, comparatione meliorum,
like the other vicious kinds of thinking, by comparison with better things,
quemadmodum lana tincta fuco citra purpuras placet, ac, si contuleris etiam lacernae, conspectu melioris obruitur. Si vero iudicium his corruptis acrius adhibeas, ut fucinis sulphura, iam illud, quod fefellerat, exuat mentitum colorem, et quadam vix enarrabili foeditate pallescat. Luceat igitur haec citra solem, et ut quaedam exigua animalia igniculi videntur in tenebris.
They are like wool dyed red that pleases in the absence of purple, but, as Ovid says, if compared with a cloak of Tyrian dye, pales in the presence of the fairer hue. If, however, we test such corrupt eloquence by the touchstone of a critical taste, as, for example, we test inferior dyes with sulphur, it will lay aside the false brilliance that deceived the eye and fade to a pallor almost too repulsive to describe. Such passages shine only in the absence of the sunlight, just as certain tiny insects seem transformed in the darkness to little flames of fire.,
XII. 10. Si protraxeris fucatam eiusmodi Venerem ex angulis et umbra in solem et maioris theatri celebritatem, nec illi,
XII.10. If you drag such a false-colored Venus from corners and shade into the sun and the crowdedness of a greater theater, there no longer remains for her
iam manet humida creta, colorque
Stercore fucatus crocodili.
"now she has no longer the advantage of moist cosmetics, and her color
appears as if stained with crocodile's ordure"
Hor. ep. od. XII.
Horace, Epodes XII.
Vitiosum et corruptum cogitandi genus,
The vicious and corrupt kind of thinking which
quod huc usque fucum appellavimus, § 688. Quintilianus dicit
up to this point we have called false coloring, §688, Quintilian calls
casuris, si leviter excutiantur, flosculis nitens, evanescens ac moriens,
They make the gravest mistake who consider that the style which is best adapted to win popularity and applause is a faulty and corrupt style of speaking which ... adorns itself with blossoms of eloquence which will fall to earth if but lightly shaken.... [W]hen such displays are compared with their betters, they sink into insignificance and fade out of sight....;
ut reliqua vitiosa cogitandi genera, comparatione meliorum,
like the other vicious kinds of thinking, by comparison with better things,
quemadmodum lana tincta fuco citra purpuras placet, ac, si contuleris etiam lacernae, conspectu melioris obruitur. Si vero iudicium his corruptis acrius adhibeas, ut fucinis sulphura, iam illud, quod fefellerat, exuat mentitum colorem, et quadam vix enarrabili foeditate pallescat. Luceat igitur haec citra solem, et ut quaedam exigua animalia igniculi videntur in tenebris.
They are like wool dyed red that pleases in the absence of purple, but, as Ovid says, if compared with a cloak of Tyrian dye, pales in the presence of the fairer hue. If, however, we test such corrupt eloquence by the touchstone of a critical taste, as, for example, we test inferior dyes with sulphur, it will lay aside the false brilliance that deceived the eye and fade to a pallor almost too repulsive to describe. Such passages shine only in the absence of the sunlight, just as certain tiny insects seem transformed in the darkness to little flames of fire.,
XII. 10. Si protraxeris fucatam eiusmodi Venerem
XII.10. If you drag such a false-colored Venus
ex angulis et umbra in solem et
from corners and shade into the sun and the
maioris theatri celebritatem, nec illi,
crowdedness of a greater theater, there no longer remains for her
iam manet humida creta, colorque
Stercore fucatus crocodili.
"now she has no longer the advantage of moist cosmetics, and her color
appears as if stained with crocodile's ordure"
Hor. ep. od. XII.
Horace, Epodes XII.
Vitiosum et corruptum cogitandi genus, quod huc usque fucum appellavimus, § 688. Quintilianus dicit / The vicious and corrupt kind of thinking which up to this point we have called false coloring, §688, Quintilian calls
casuris, si leviter excutiantur, flosculis nitens, evanescens ac moriens,
They make the gravest mistake who consider that the style which is best adapted to win popularity and applause is a faulty and corrupt style of speaking which ... adorns itself with blossoms of eloquence which will fall to earth if but lightly shaken.... [W]hen such displays are compared with their betters, they sink into insignificance and fade out of sight....;
ut reliqua vitiosa cogitandi genera, comparatione meliorum, / like the other vicious kinds of thinking, by comparison with better things,
quemadmodum lana tincta fuco citra purpuras placet, ac, si contuleris etiam lacernae, conspectu melioris obruitur. Si vero iudicium his corruptis acrius adhibeas, ut fucinis sulphura, iam illud, quod fefellerat, exuat mentitum colorem, et quadam vix enarrabili foeditate pallescat. Luceat igitur haec citra solem, et ut quaedam exigua animalia igniculi videntur in tenebris.
They are like wool dyed red that pleases in the absence of purple, but, as Ovid says, if compared with a cloak of Tyrian dye, pales in the presence of the fairer hue. If, however, we test such corrupt eloquence by the touchstone of a critical taste, as, for example, we test inferior dyes with sulphur, it will lay aside the false brilliance that deceived the eye and fade to a pallor almost too repulsive to describe. Such passages shine only in the absence of the sunlight, just as certain tiny insects seem transformed in the darkness to little flames of fire.,
XII. 10. Si protraxeris fucatam eiusmodi Venerem ex angulis et umbra in solem et maioris theatri celebritatem, nec illi, / XII.10. If you drag such a false-colored Venus from corners and shade into the sun and the crowdedness of a greater theater, there no longer remains for her
iam manet humida creta, colorque
Stercore fucatus crocodili.
"now she has no longer the advantage of moist cosmetics, and her color
appears as if stained with crocodile's ordure"
Hor. ep. od. XII. / Horace, Epodes XII.
§ 720
Pulcre cogitandis
In beautiful thinking there ought to reside
insidere quidam venustatis, non fuco illitus, sed sanguine diffusus debet color,
In each of these three forms there ought to be a peculiar complexion of beauty, not produced by the daubing of paint, but diffused throughout the body by the blood.,
i. e. per ipsam materiae, cogitantis et obiectorum in personalibus praecipuorum naturam determinata lucis aestheticae modificatio. § 688, 622, 623. Cic. de or. III. 199.
that is, a modification of aesthetic light determined through the very nature of the material, of the thinker, and of the principal personal objects, §§688, 622, 623; Cicero, De oratore III.199.
Ipsa formae dignitas coloris bonitate tuenda est.
Now dignity of mien is also to be enhanced by a good complexion; the
complexion is the result of physical exercise.,
§ 188. Cic. off. I. 30. Hic autem
§188, Cicero, De officiis I.30. This, moreover,
est quidam sine ullo fuco veritatis color.
In these we have the genuine complexion of eloquence, without any painting or disguise.,
§ 423. Cic. de cl. orator. 162. cuius
§423, Cicero, Brutus 162, for whose
liniamentis flos pigmentorum recentium: defit potius, quam adsit nimius.
For, to settle it, a great variety of authors must be examined, and especially Cato: which could not fail to convince you, that nothing was wanting to complete his pieces, but those rich and glowing colours which had not then been invented.,
298. § 691. Neque tamen desit naturam sequens variatio, § 689. quia naturalis color ultra terminos a natura constitutos protractus et uno tenore continuatus tandem non nisi fucus est. Hinc intelligo Quintilianum, qui Cassio Severo tribuit
298, §691. Yet variation following nature should not be lacking, §689, because natural color drawn beyond the boundaries established by nature and continued in one tenor finally is nothing but false coloring. Hence I understand Quintilian, who grants Cassius Severus
ingenii plurimum, acerbitatem miram, summam urbanitatem,
For his natural talents are great, his gift of bitterness, wit and passion remarkable, but he allowed the sharpness of his temper to prevail over his judgment.,
tamen in eodem non gravitatem solum, sed etiam colorem orationis desiderat, quoniam
yet misses in him not only gravity but also color of speech, because
stomacho et amaris salibus plus, quam consilio, dederit.
For his natural talents are great, his gift of bitterness, wit and passion remarkable, but he allowed the sharpness of his temper to prevail over his judgment. Moreover, though his jests are pungent enough, this very pungency often turned the laugh against himself.,
X. 1.
X.1.
Pulcre cogitandis
In beautiful thinking there ought to reside
insidere quidam venustatis, non fuco illitus, sed sanguine diffusus debet color,
In each of these three forms there ought to be a peculiar complexion of beauty, not produced by the daubing of paint, but diffused throughout the body by the blood.,
i. e. per ipsam materiae, cogitantis et obiectorum in personalibus praecipuorum naturam determinata lucis aestheticae modificatio. § 688, 622, 623. Cic. de or. III. 199.
that is, a modification of aesthetic light determined through the very nature of the material, of the thinker, and of the principal personal objects, §§688, 622, 623; Cicero, De oratore III.199.
Ipsa formae dignitas coloris bonitate tuenda est.
Now dignity of mien is also to be enhanced by a good complexion; the
complexion is the result of physical exercise.,
§ 188. Cic. off. I. 30. Hic autem
§188, Cicero, De officiis I.30. This, moreover,
est quidam sine ullo fuco veritatis color.
In these we have the genuine complexion of eloquence, without any painting or disguise.,
§ 423. Cic. de cl. orator. 162. cuius
§423, Cicero, Brutus 162, for whose
liniamentis flos pigmentorum recentium: defit potius, quam adsit nimius.
For, to settle it, a great variety of authors must be examined, and especially Cato: which could not fail to convince you, that nothing was wanting to complete his pieces, but those rich and glowing colours which had not then been invented.,
298. § 691. Neque tamen desit naturam sequens variatio, § 689. quia naturalis color ultra terminos a natura constitutos protractus et uno tenore continuatus tandem non nisi fucus est.
298, §691. Yet variation following nature should not be lacking, §689, because natural color drawn beyond the boundaries established by nature and continued in one tenor finally is nothing but false coloring.
Hinc intelligo Quintilianum, qui Cassio Severo tribuit
Hence I understand Quintilian, who grants Cassius Severus
ingenii plurimum, acerbitatem miram, summam urbanitatem,
For his natural talents are great, his gift of bitterness, wit and passion remarkable, but he allowed the sharpness of his temper to prevail over his judgment.,
tamen in eodem non gravitatem solum, sed etiam colorem orationis desiderat, quoniam
yet misses in him not only gravity but also color of speech, because
stomacho et amaris salibus plus, quam consilio, dederit.
For his natural talents are great, his gift of bitterness, wit and passion remarkable, but he allowed the sharpness of his temper to prevail over his judgment. Moreover, though his jests are pungent enough, this very pungency often turned the laugh against himself.,
X. 1.
X.1.
Pulcre cogitandis
In beautiful thinking there ought to reside
insidere quidam venustatis, non fuco illitus, sed sanguine diffusus debet color,
In each of these three forms there ought to be a peculiar complexion of beauty, not produced by the daubing of paint, but diffused throughout the body by the blood.,
i. e. per
that is, a modification of aesthetic light determined through
ipsam materiae, cogitantis
the very nature of the material, of the thinker,
et obiectorum in personalibus praecipuorum naturam determinata lucis aestheticae modificatio.
and of the principal personal objects,
§ 688, 622, 623. Cic. de or. III. 199.
§§688, 622, 623; Cicero, De oratore III.199.
Ipsa formae dignitas coloris bonitate tuenda est.
Now dignity of mien is also to be enhanced by a good complexion; the
complexion is the result of physical exercise.,
§ 188. Cic. off. I. 30. Hic autem
§188, Cicero, De officiis I.30. This, moreover,
est quidam sine ullo fuco veritatis color.
In these we have the genuine complexion of eloquence, without any painting or disguise.,
§ 423. Cic. de cl. orator. 162. cuius
§423, Cicero, Brutus 162, for whose
liniamentis flos pigmentorum recentium: defit potius, quam adsit nimius.
For, to settle it, a great variety of authors must be examined, and especially Cato: which could not fail to convince you, that nothing was wanting to complete his pieces, but those rich and glowing colours which had not then been invented.,
298. § 691. Neque tamen desit naturam sequens variatio, § 689.
298, §691. Yet variation following nature should not be lacking, §689,
quia naturalis color ultra terminos a
because natural color drawn beyond the boundaries established by
natura constitutos protractus et uno tenore continuatus
nature and continued in one tenor
tandem non nisi fucus est.
finally is nothing but false coloring.
Hinc intelligo Quintilianum, qui Cassio Severo tribuit
Hence I understand Quintilian, who grants Cassius Severus
ingenii plurimum, acerbitatem miram, summam urbanitatem,
For his natural talents are great, his gift of bitterness, wit and passion remarkable, but he allowed the sharpness of his temper to prevail over his judgment.,
tamen in eodem non gravitatem solum,
yet misses in him not only gravity
sed etiam colorem orationis desiderat, quoniam
but also color of speech, because
stomacho et amaris salibus plus, quam consilio, dederit.
For his natural talents are great, his gift of bitterness, wit and passion remarkable, but he allowed the sharpness of his temper to prevail over his judgment. Moreover, though his jests are pungent enough, this very pungency often turned the laugh against himself.,
X. 1.
X.1.
Pulcre cogitandis / In beautiful thinking there ought to reside
insidere quidam venustatis, non fuco illitus, sed sanguine diffusus debet color,
In each of these three forms there ought to be a peculiar complexion of beauty, not produced by the daubing of paint, but diffused throughout the body by the blood.,
i. e. per ipsam materiae, cogitantis et obiectorum in personalibus praecipuorum naturam determinata lucis aestheticae modificatio. § 688, 622, 623. Cic. de or. III. 199. / that is, a modification of aesthetic light determined through the very nature of the material, of the thinker, and of the principal personal objects, §§688, 622, 623; Cicero, De oratore III.199.
Ipsa formae dignitas coloris bonitate tuenda est.
Now dignity of mien is also to be enhanced by a good complexion; the
complexion is the result of physical exercise.,
§ 188. Cic. off. I. 30. Hic autem / §188, Cicero, De officiis I.30. This, moreover,
est quidam sine ullo fuco veritatis color.
In these we have the genuine complexion of eloquence, without any painting or disguise.,
§ 423. Cic. de cl. orator. 162. cuius / §423, Cicero, Brutus 162, for whose
liniamentis flos pigmentorum recentium: defit potius, quam adsit nimius.
For, to settle it, a great variety of authors must be examined, and especially Cato: which could not fail to convince you, that nothing was wanting to complete his pieces, but those rich and glowing colours which had not then been invented.,
298. § 691. Neque tamen desit naturam sequens variatio, § 689. quia naturalis color ultra terminos a natura constitutos protractus et uno tenore continuatus tandem non nisi fucus est. / 298, §691. Yet variation following nature should not be lacking, §689, because natural color drawn beyond the boundaries established by nature and continued in one tenor finally is nothing but false coloring.
Hinc intelligo Quintilianum, qui Cassio Severo tribuit / Hence I understand Quintilian, who grants Cassius Severus
ingenii plurimum, acerbitatem miram, summam urbanitatem,
For his natural talents are great, his gift of bitterness, wit and passion remarkable, but he allowed the sharpness of his temper to prevail over his judgment.,
tamen in eodem non gravitatem solum, sed etiam colorem orationis desiderat, quoniam / yet misses in him not only gravity but also color of speech, because
stomacho et amaris salibus plus, quam consilio, dederit.
For his natural talents are great, his gift of bitterness, wit and passion remarkable, but he allowed the sharpness of his temper to prevail over his judgment. Moreover, though his jests are pungent enough, this very pungency often turned the laugh against himself.,
X. 1. / X.1.
§ 721
Veniamus ad aliquas colorum oppositique coloribus fuci species, exempli gratia. I. A Cicerone desideratur in caeternis oratoribus urbanitate quadam colorata oratio. Quaesitusque:
Let us come to some species of colors and of the false coloring opposed to colors, for the sake of example. I. Cicero misses in certain orators speech colored by a certain urbanity. Asked, What finally is that color of urbanity? I do not know, he says,
Quis est ille tandem urbanitatis color? Nescio, inquit, tantum esse quendam scio. Id tu, Brute, intelliges, quum in Galliam veneris. — In vocibus nostrorum oratorum recinit quoddam et resonat urbanius. Nec hoc in oratoribus modo apparet, sed etiam in caeteris.
“What fashionable delicacy do you mean?” said he.—“I cannot,” said I, “pretend to define it: I only know that there is such a quality existing. When you go to your province in Gaul, you will be convinced of it. You will there find many expressions which are not current in Rome; but these may be easily changed, and corrected. But, what is of greater importance, our Orators have a particular accent in their manner of pronouncing, which is more elegant, and has a more agreeable effect than any other. This, however, is not peculiar to the Orators, but is equally common to every well-bred citizen.”,
de cl. orat. 170. An hic est color idem illud, nescio quid, quod nunc Galli suis solis quidam tribuunt, externis denegant? Fucum illius similem ostendit Catulli Suffenus,
Brutus 170. Is this color the same "I know not what" which some French now attribute only to themselves and deny to foreigners? Catullus' Suffenus shows a false coloring similar to it:
Homo venustus, et dicax, et urbanus,
qui modo scurra,
Aut si quid hac re tritius, videbatur.
"That Suffenus, Varus, whom thou know'st right well, is a man fair spoken, witty and urbane [...] What can we think of this? he who just now was seen a professed droll, or e'en shrewder than such in gay speech [...]"
Idem miram fucorum et apertae foeditatis miscelam exhibet; in poematibus quando
The same man exhibits a marvelous mixture of false colorings and open ugliness; in poems, when
bellus ille et urbanus
Suffenus, unus caprimulgus ac fossor
Rursus videtur. Tantum abhorret ac mutat.
"But when thou readest these, that refined and urbane Suffenus is seen on the contrary to be a mere goatherd or ditcher-lout, so great and shocking is the change."
Veniamus ad aliquas colorum oppositique coloribus fuci species, exempli gratia.
Let us come to some species of colors and of the false coloring opposed to colors, for the sake of example.
I. A Cicerone desideratur in caeternis oratoribus urbanitate quadam colorata oratio.
I. Cicero misses in certain orators speech colored by a certain urbanity. Asked, What finally is that color of urbanity?
Quaesitusque:
I do not know, he says,
Quis est ille tandem urbanitatis color? Nescio, inquit, tantum esse quendam scio. Id tu, Brute, intelliges, quum in Galliam veneris. — In vocibus nostrorum oratorum recinit quoddam et resonat urbanius. Nec hoc in oratoribus modo apparet, sed etiam in caeteris.
“What fashionable delicacy do you mean?” said he.—“I cannot,” said I, “pretend to define it: I only know that there is such a quality existing. When you go to your province in Gaul, you will be convinced of it. You will there find many expressions which are not current in Rome; but these may be easily changed, and corrected. But, what is of greater importance, our Orators have a particular accent in their manner of pronouncing, which is more elegant, and has a more agreeable effect than any other. This, however, is not peculiar to the Orators, but is equally common to every well-bred citizen.”,
de cl. orat. 170. An hic est color idem illud, nescio quid, quod nunc Galli suis solis quidam tribuunt, externis denegant?
Brutus 170. Is this color the same "I know not what" which some French now attribute only to themselves and deny to foreigners?
Fucum illius similem ostendit Catulli Suffenus,
Catullus' Suffenus shows a false coloring similar to it:
Homo venustus, et dicax, et urbanus,
qui modo scurra,
Aut si quid hac re tritius, videbatur.
"That Suffenus, Varus, whom thou know'st right well, is a man fair spoken, witty and urbane [...] What can we think of this? he who just now was seen a professed droll, or e'en shrewder than such in gay speech [...]"
Idem miram fucorum et apertae foeditatis miscelam exhibet; in poematibus quando
The same man exhibits a marvelous mixture of false colorings and open ugliness; in poems, when
bellus ille et urbanus
Suffenus, unus caprimulgus ac fossor
Rursus videtur. Tantum abhorret ac mutat.
"But when thou readest these, that refined and urbane Suffenus is seen on the contrary to be a mere goatherd or ditcher-lout, so great and shocking is the change."
Veniamus ad aliquas colorum
Let us come to some species of colors and
oppositique coloribus fuci species, exempli gratia.
of the false coloring opposed to colors, for the sake of example.
I. A Cicerone desideratur in caeternis oratoribus
I. Cicero misses in certain orators speech colored
urbanitate quadam colorata oratio.
by a certain urbanity. Asked, What finally is that color of urbanity?
Quaesitusque:
I do not know, he says,
Quis est ille tandem urbanitatis color? Nescio, inquit, tantum esse quendam scio. Id tu, Brute, intelliges, quum in Galliam veneris. — In vocibus nostrorum oratorum recinit quoddam et resonat urbanius. Nec hoc in oratoribus modo apparet, sed etiam in caeteris.
“What fashionable delicacy do you mean?” said he.—“I cannot,” said I, “pretend to define it: I only know that there is such a quality existing. When you go to your province in Gaul, you will be convinced of it. You will there find many expressions which are not current in Rome; but these may be easily changed, and corrected. But, what is of greater importance, our Orators have a particular accent in their manner of pronouncing, which is more elegant, and has a more agreeable effect than any other. This, however, is not peculiar to the Orators, but is equally common to every well-bred citizen.”,
de cl. orat. 170. An hic est color
Brutus 170. Is this color
idem illud, nescio quid,
the same "I know not what" which some
quod nunc Galli suis solis quidam tribuunt, externis denegant?
French now attribute only to themselves and deny to foreigners?
Fucum illius similem ostendit Catulli Suffenus,
Catullus' Suffenus shows a false coloring similar to it:
Homo venustus, et dicax, et urbanus,
qui modo scurra,
Aut si quid hac re tritius, videbatur.
"That Suffenus, Varus, whom thou know'st right well, is a man fair spoken, witty and urbane [...] What can we think of this? he who just now was seen a professed droll, or e'en shrewder than such in gay speech [...]"
Idem miram fucorum
The same man exhibits a marvelous mixture of false
et apertae foeditatis miscelam exhibet; in poematibus quando
colorings and open ugliness; in poems, when
bellus ille et urbanus
Suffenus, unus caprimulgus ac fossor
Rursus videtur. Tantum abhorret ac mutat.
"But when thou readest these, that refined and urbane Suffenus is seen on the contrary to be a mere goatherd or ditcher-lout, so great and shocking is the change."
Veniamus ad aliquas colorum oppositique coloribus fuci species, exempli gratia. / Let us come to some species of colors and of the false coloring opposed to colors, for the sake of example.
I. A Cicerone desideratur in caeternis oratoribus urbanitate quadam colorata oratio. / I. Cicero misses in certain orators speech colored by a certain urbanity. Asked, What finally is that color of urbanity?
Quaesitusque: / I do not know, he says,
Quis est ille tandem urbanitatis color? Nescio, inquit, tantum esse quendam scio. Id tu, Brute, intelliges, quum in Galliam veneris. — In vocibus nostrorum oratorum recinit quoddam et resonat urbanius. Nec hoc in oratoribus modo apparet, sed etiam in caeteris.
“What fashionable delicacy do you mean?” said he.—“I cannot,” said I, “pretend to define it: I only know that there is such a quality existing. When you go to your province in Gaul, you will be convinced of it. You will there find many expressions which are not current in Rome; but these may be easily changed, and corrected. But, what is of greater importance, our Orators have a particular accent in their manner of pronouncing, which is more elegant, and has a more agreeable effect than any other. This, however, is not peculiar to the Orators, but is equally common to every well-bred citizen.”,
de cl. orat. 170. An hic est color idem illud, nescio quid, quod nunc Galli suis solis quidam tribuunt, externis denegant? / Brutus 170. Is this color the same "I know not what" which some French now attribute only to themselves and deny to foreigners?
Fucum illius similem ostendit Catulli Suffenus, / Catullus' Suffenus shows a false coloring similar to it:
Homo venustus, et dicax, et urbanus,
qui modo scurra,
Aut si quid hac re tritius, videbatur.
"That Suffenus, Varus, whom thou know'st right well, is a man fair spoken, witty and urbane [...] What can we think of this? he who just now was seen a professed droll, or e'en shrewder than such in gay speech [...]"
Idem miram fucorum et apertae foeditatis miscelam exhibet; in poematibus quando / The same man exhibits a marvelous mixture of false colorings and open ugliness; in poems, when
bellus ille et urbanus
Suffenus, unus caprimulgus ac fossor
Rursus videtur. Tantum abhorret ac mutat.
"But when thou readest these, that refined and urbane Suffenus is seen on the contrary to be a mere goatherd or ditcher-lout, so great and shocking is the change."
§ 722
II. Coniungam, uti coniunctum in Rutilii dicendi genere fuisse apud Ciceronem est. de cl. or. 113. colorem tristem et severum, acrem atque vehementem. Primus est color luctibus conveniens, non ita reliqui, nisi quibusdam tragicis. Est tamen verus quidam
II. I shall join, as they were joined in Rutilius' manner of speaking in Cicero, Brutus 113, the sad and severe, sharp and vehement colors. The first is a color fitting for griefs; not so the rest, except in certain tragic matters. Yet there is a true
severitatis color, non modo non invidiosus, sed etiam popularis.
For it has been your good fortune—as I think it has never been anyone else's—to inflict the most severe punishment, not only without exciting ill feeling, but with full popular approval, and to the greatest and most universal satisfaction of aristocrat and plebeian alike..
Severitatem enim lego apud Ciceronem Fam. VIIII. ep. 14. non
For I read severity in Cicero, Fam. IX.14, not as
veritatem animadversionis tum bonis omnibus, tum infimo cuique gratissimam.
For it has been your good fortune—as I think it has never been anyone else's—to inflict the most severe punishment, not only without exciting ill feeling, but with full popular approval, and to the greatest and most universal satisfaction of aristocrat and plebeian alike..
Est verus quidam color ex pudore relucentis acrimoniae, cuius
There is a true color of sharpness shining from modesty, whose
totum genus excellet e. g. in caussis, in quibus potest inflammari animus iudicis acri et vehementi quadam incitatione.
This mode of address is extremely excellent in those cases in which the mind of the judge is not likely to be inflamed by an ardent and vehement assault; for energetic oratory is not always desirable, but often smooth, submissive, gentle language, which gains much favour for defendants [...].,
Cic. Or. II. 185. Quanquam
Cicero, De oratore II.185. Although
dubium non est, quin exordium dicendi vehemens et pugnax non saepe esse debeat.
Nor is there any doubt, that the beginning of a speech ought very seldom to be vehement and pugnacious; but if even in the combat of gladiators for life, which is decided by the sword, many passes are made previous to the actual encounter [...].,
317. Cicero tamen, operum colores qui satis norat,
317, Cicero nevertheless, who knew the colors of works well enough,
vehementer se agere fatetur, iracunde,
For as for your saying that I am in the habit of arguing against you with ill temper, that is not the case. I confess that I argue with vehemence, but not with ill temper.,
negat. Philipp. VIII. 16.
but denies that he acts angrily, Philippics VIII.16.
II. Coniungam, uti coniunctum in Rutilii dicendi genere fuisse apud Ciceronem est. de cl. or. 113. colorem tristem et severum, acrem atque vehementem.
II. I shall join, as they were joined in Rutilius' manner of speaking in Cicero, Brutus 113, the sad and severe, sharp and vehement colors.
Primus est color luctibus conveniens, non ita reliqui, nisi quibusdam tragicis.
The first is a color fitting for griefs; not so the rest, except in certain tragic matters.
Est tamen verus quidam
Yet there is a true
severitatis color, non modo non invidiosus, sed etiam popularis.
For it has been your good fortune—as I think it has never been anyone else's—to inflict the most severe punishment, not only without exciting ill feeling, but with full popular approval, and to the greatest and most universal satisfaction of aristocrat and plebeian alike..
Severitatem enim lego apud Ciceronem Fam.
For I read severity in Cicero, Fam.
VIIII. ep. 14. non
IX.14, not as
veritatem animadversionis tum bonis omnibus, tum infimo cuique gratissimam.
For it has been your good fortune—as I think it has never been anyone else's—to inflict the most severe punishment, not only without exciting ill feeling, but with full popular approval, and to the greatest and most universal satisfaction of aristocrat and plebeian alike..
Est verus quidam color ex pudore relucentis acrimoniae, cuius
There is a true color of sharpness shining from modesty, whose
totum genus excellet e. g. in caussis, in quibus potest inflammari animus iudicis acri et vehementi quadam incitatione.
This mode of address is extremely excellent in those cases in which the mind of the judge is not likely to be inflamed by an ardent and vehement assault; for energetic oratory is not always desirable, but often smooth, submissive, gentle language, which gains much favour for defendants [...].,
Cic. Or. II. 185. Quanquam
Cicero, De oratore II.185. Although
dubium non est, quin exordium dicendi vehemens et pugnax non saepe esse debeat.
Nor is there any doubt, that the beginning of a speech ought very seldom to be vehement and pugnacious; but if even in the combat of gladiators for life, which is decided by the sword, many passes are made previous to the actual encounter [...].,
317. Cicero tamen, operum colores qui satis norat,
317, Cicero nevertheless, who knew the colors of works well enough,
vehementer se agere fatetur, iracunde,
For as for your saying that I am in the habit of arguing against you with ill temper, that is not the case. I confess that I argue with vehemence, but not with ill temper.,
negat. Philipp. VIII. 16.
but denies that he acts angrily, Philippics VIII.16.
II. Coniungam, uti coniunctum in
II. I shall join, as they were joined in
Rutilii dicendi genere fuisse apud Ciceronem est. de cl.
Rutilius' manner of speaking in Cicero,
or. 113. colorem tristem et severum, acrem atque vehementem.
Brutus 113, the sad and severe, sharp and vehement colors.
Primus est color luctibus conveniens,
The first is a color fitting for griefs;
non ita reliqui, nisi quibusdam tragicis.
not so the rest, except in certain tragic matters.
Est tamen verus quidam
Yet there is a true
severitatis color, non modo non invidiosus, sed etiam popularis.
For it has been your good fortune—as I think it has never been anyone else's—to inflict the most severe punishment, not only without exciting ill feeling, but with full popular approval, and to the greatest and most universal satisfaction of aristocrat and plebeian alike..
Severitatem enim lego apud Ciceronem Fam.
For I read severity in Cicero, Fam.
VIIII. ep. 14. non
IX.14, not as
veritatem animadversionis tum bonis omnibus, tum infimo cuique gratissimam.
For it has been your good fortune—as I think it has never been anyone else's—to inflict the most severe punishment, not only without exciting ill feeling, but with full popular approval, and to the greatest and most universal satisfaction of aristocrat and plebeian alike..
Est verus quidam color ex pudore relucentis acrimoniae,
There is a true color of sharpness shining from modesty,
cuius
whose
totum genus excellet e. g. in caussis, in quibus potest inflammari animus iudicis acri et vehementi quadam incitatione.
This mode of address is extremely excellent in those cases in which the mind of the judge is not likely to be inflamed by an ardent and vehement assault; for energetic oratory is not always desirable, but often smooth, submissive, gentle language, which gains much favour for defendants [...].,
Cic. Or. II. 185. Quanquam
Cicero, De oratore II.185. Although
dubium non est, quin exordium dicendi vehemens et pugnax non saepe esse debeat.
Nor is there any doubt, that the beginning of a speech ought very seldom to be vehement and pugnacious; but if even in the combat of gladiators for life, which is decided by the sword, many passes are made previous to the actual encounter [...].,
317. Cicero tamen, operum colores qui satis norat,
317, Cicero nevertheless, who knew the colors of works well enough,
vehementer se agere fatetur, iracunde,
For as for your saying that I am in the habit of arguing against you with ill temper, that is not the case. I confess that I argue with vehemence, but not with ill temper.,
negat. Philipp. VIII. 16.
but denies that he acts angrily, Philippics VIII.16.
II. Coniungam, uti coniunctum in Rutilii dicendi genere fuisse apud Ciceronem est. de cl. or. 113. colorem tristem et severum, acrem atque vehementem. / II. I shall join, as they were joined in Rutilius' manner of speaking in Cicero, Brutus 113, the sad and severe, sharp and vehement colors.
Primus est color luctibus conveniens, non ita reliqui, nisi quibusdam tragicis. / The first is a color fitting for griefs; not so the rest, except in certain tragic matters.
Est tamen verus quidam / Yet there is a true
severitatis color, non modo non invidiosus, sed etiam popularis.
For it has been your good fortune—as I think it has never been anyone else's—to inflict the most severe punishment, not only without exciting ill feeling, but with full popular approval, and to the greatest and most universal satisfaction of aristocrat and plebeian alike..
Severitatem enim lego apud Ciceronem Fam. / For I read severity in Cicero, Fam.
VIIII. ep. 14. non / IX.14, not as
veritatem animadversionis tum bonis omnibus, tum infimo cuique gratissimam.
For it has been your good fortune—as I think it has never been anyone else's—to inflict the most severe punishment, not only without exciting ill feeling, but with full popular approval, and to the greatest and most universal satisfaction of aristocrat and plebeian alike..
Est verus quidam color ex pudore relucentis acrimoniae, cuius / There is a true color of sharpness shining from modesty, whose
totum genus excellet e. g. in caussis, in quibus potest inflammari animus iudicis acri et vehementi quadam incitatione.
This mode of address is extremely excellent in those cases in which the mind of the judge is not likely to be inflamed by an ardent and vehement assault; for energetic oratory is not always desirable, but often smooth, submissive, gentle language, which gains much favour for defendants [...].,
Cic. Or. II. 185. Quanquam / Cicero, De oratore II.185. Although
dubium non est, quin exordium dicendi vehemens et pugnax non saepe esse debeat.
Nor is there any doubt, that the beginning of a speech ought very seldom to be vehement and pugnacious; but if even in the combat of gladiators for life, which is decided by the sword, many passes are made previous to the actual encounter [...].,
317. Cicero tamen, operum colores qui satis norat, / 317, Cicero nevertheless, who knew the colors of works well enough,
vehementer se agere fatetur, iracunde,
For as for your saying that I am in the habit of arguing against you with ill temper, that is not the case. I confess that I argue with vehemence, but not with ill temper.,
negat. Philipp. VIII. 16. / but denies that he acts angrily, Philippics VIII.16.
§ 723
Hos colores mentiuntur fuci e. g. eorum
False colorings imitate these colors, for example those of men
qui fronte gravi et tristi supercilio utilitatibus fisci contumaciter adsunt, quos nunquam principibus defuisse
Few of your Predecessours ever wanted such instruments, who with sowre looks and severe carriage were very punctual and rigorous in exacting the Imperial revenues.,
putat Plinius Pan. 41. et omnis non iocis tantum ac hilaritati; sed etiam humanitati contraria severitas in cogitando iudicandoque. Acerbam eiusmodi severitatem amet una
whom Pliny thinks have never been lacking to princes, Panegyric 41; and every severity in thinking and judging contrary not only to jokes and cheerfulness but also to humanity.
Eumenidum intento turba severa foro.
Let the two brothers sit by him, and near the seat of Minos let the stern band of Furies stand, while all the court is hushed to hear my doom.
Prop. IIII. 11.
Veram et fucatam acrimoniam pingit una Cicero, mores pulcre cogitaturi formans de Or. I. 182. quando:
Propertius IV.11. Cicero paints true and false sharpness together, forming the manners of one who will think beautifully in De oratore I.182, when he says:
Haec, ait, adiuvant in oratore: lenitas vocis, vultus, pudoris significatio, verborum comitas. Si quid persequare acrius, (hic habes verum colorem, § 722.) ut invitus et coactus facere videare. — Ea omnia, quae proborum, demissorum, non acrium, non pertinacium, non litigiosorum, non acerborum sunt, (habes fucum pertinacis et acerbi litigatoris) valde benevolentiam conciliant.
But the qualities that attract favour to the orator are a soft tone of voice, a countenance expressive of modesty, a mild manner of speaking; so that if he attacks any one with severity, he may seem to do so unwillingly and from compulsion. [...] And everything that characterizes men of probity and humility, not acrimonious, nor stubborn, nor litigious, nor harsh, very much conciliates benevolence.
Quemadmodum vehemens proprie et recte Macrobio VI. 8. nimio impetu ac vi mentis instructum significat, M. § 699: ita genus cogitandi vehemens et atrox fucum potius, quam verum ac laudabilem colorem, prae se feret, nisi admisceatur eidem genus lenitatis atque mansuetudinis. Cic. de or. II. 200.
The first portion presents true color (§722); the latter, the false coloring of the stubborn and bitter litigant. Just as vehement, properly and rightly in Macrobius VI.8, means instructed with too great an impulse and force of mind, Metaphysics §699, so a vehement and fierce kind of thinking will display false coloring rather than true and praiseworthy color unless a kind of gentleness and mildness is mixed with it, Cicero, De oratore II.200.
Hos colores mentiuntur fuci e. g. eorum
False colorings imitate these colors, for example those of men
qui fronte gravi et tristi supercilio utilitatibus fisci contumaciter adsunt, quos nunquam principibus defuisse
Few of your Predecessours ever wanted such instruments, who with sowre looks and severe carriage were very punctual and rigorous in exacting the Imperial revenues.,
putat Plinius Pan. 41. et omnis non iocis tantum ac hilaritati; sed etiam humanitati contraria severitas in cogitando iudicandoque. Acerbam eiusmodi severitatem amet una
whom Pliny thinks have never been lacking to princes, Panegyric 41; and every severity in thinking and judging contrary not only to jokes and cheerfulness but also to humanity.
Eumenidum intento turba severa foro.
Let the two brothers sit by him, and near the seat of Minos let the stern band of Furies stand, while all the court is hushed to hear my doom.
Prop.
Propertius IV.11.
IIII. 11.
Veram et fucatam acrimoniam pingit una Cicero, mores pulcre cogitaturi formans de Or. I. 182. quando:
Cicero paints true and false sharpness together, forming the manners of one who will think beautifully in De oratore I.182, when he says:
Haec, ait, adiuvant in oratore: lenitas vocis, vultus, pudoris significatio, verborum comitas. Si quid persequare acrius, (hic habes verum colorem, § 722.) ut invitus et coactus facere videare. — Ea omnia, quae proborum, demissorum, non acrium, non pertinacium, non litigiosorum, non acerborum sunt, (habes fucum pertinacis et acerbi litigatoris) valde benevolentiam conciliant.
But the qualities that attract favour to the orator are a soft tone of voice, a countenance expressive of modesty, a mild manner of speaking; so that if he attacks any one with severity, he may seem to do so unwillingly and from compulsion. [...] And everything that characterizes men of probity and humility, not acrimonious, nor stubborn, nor litigious, nor harsh, very much conciliates benevolence.
Quemadmodum vehemens proprie et recte Macrobio VI. 8. nimio impetu ac vi mentis instructum significat, M. § 699: ita genus cogitandi vehemens et atrox fucum potius, quam verum ac laudabilem colorem, prae se feret, nisi admisceatur eidem genus lenitatis atque mansuetudinis. Cic. de or. II. 200.
The first portion presents true color (§722); the latter, the false coloring of the stubborn and bitter litigant. Just as vehement, properly and rightly in Macrobius VI.8, means instructed with too great an impulse and force of mind, Metaphysics §699, so a vehement and fierce kind of thinking will display false coloring rather than true and praiseworthy color unless a kind of gentleness and mildness is mixed with it, Cicero, De oratore II.200.
Hos colores mentiuntur fuci e. g. eorum
False colorings imitate these colors, for example those of men
qui fronte gravi et tristi supercilio utilitatibus fisci contumaciter adsunt, quos nunquam principibus defuisse
Few of your Predecessours ever wanted such instruments, who with sowre looks and severe carriage were very punctual and rigorous in exacting the Imperial revenues.,
putat Plinius Pan. 41.
whom Pliny thinks have never been lacking to princes, Panegyric 41;
et omnis non iocis tantum ac hilaritati;
and every severity in thinking and
sed etiam humanitati contraria severitas in cogitando iudicandoque.
judging contrary not only to jokes
Acerbam eiusmodi severitatem amet una
and cheerfulness but also to humanity.
Eumenidum intento turba severa foro.
Let the two brothers sit by him, and near the seat of Minos let the stern band of Furies stand, while all the court is hushed to hear my doom.
Prop.
Propertius IV.11.
IIII. 11. Veram et fucatam
Cicero paints true and false sharpness together,
acrimoniam pingit una Cicero,
forming the manners of one who
mores pulcre cogitaturi formans de Or. I. 182. quando:
will think beautifully in De oratore I.182, when he says:
Haec, ait, adiuvant in oratore: lenitas vocis, vultus, pudoris significatio, verborum comitas. Si quid persequare acrius, (hic habes verum colorem, § 722.) ut invitus et coactus facere videare. — Ea omnia, quae proborum, demissorum, non acrium, non pertinacium, non litigiosorum, non acerborum sunt, (habes fucum pertinacis et acerbi litigatoris) valde benevolentiam conciliant.
But the qualities that attract favour to the orator are a soft tone of voice, a countenance expressive of modesty, a mild manner of speaking; so that if he attacks any one with severity, he may seem to do so unwillingly and from compulsion. [...] And everything that characterizes men of probity and humility, not acrimonious, nor stubborn, nor litigious, nor harsh, very much conciliates benevolence.
Quemadmodum vehemens proprie
The first portion presents true color (§722);
et recte Macrobio
the latter, the false coloring of the stubborn and bitter litigant.
VI. 8. nimio impetu ac vi
Just as vehement, properly and rightly in Macrobius VI.8,
mentis instructum significat, M.
means instructed with too great an impulse and force of mind,
§ 699: ita genus cogitandi vehemens et atrox fucum potius,
Metaphysics §699, so a vehement and fierce kind of
quam verum ac laudabilem colorem,
thinking will display false coloring rather than true and praiseworthy color
prae se feret, nisi admisceatur eidem genus lenitatis atque mansuetudinis.
unless a kind of gentleness and mildness
Cic. de or. II. 200.
is mixed with it, Cicero, De oratore II.200.
Hos colores mentiuntur fuci e. g. eorum / False colorings imitate these colors, for example those of men
qui fronte gravi et tristi supercilio utilitatibus fisci contumaciter adsunt, quos nunquam principibus defuisse
Few of your Predecessours ever wanted such instruments, who with sowre looks and severe carriage were very punctual and rigorous in exacting the Imperial revenues.,
putat Plinius Pan. 41. et omnis non iocis tantum ac hilaritati; sed etiam humanitati contraria severitas in cogitando iudicandoque. Acerbam eiusmodi severitatem amet una / whom Pliny thinks have never been lacking to princes, Panegyric 41; and every severity in thinking and judging contrary not only to jokes and cheerfulness but also to humanity.
Eumenidum intento turba severa foro.
Let the two brothers sit by him, and near the seat of Minos let the stern band of Furies stand, while all the court is hushed to hear my doom.
Prop. / Propertius IV.11.
IIII. 11. Veram et fucatam acrimoniam pingit una Cicero, mores pulcre cogitaturi formans de Or. I. 182. quando: / Cicero paints true and false sharpness together, forming the manners of one who will think beautifully in De oratore I.182, when he says:
Haec, ait, adiuvant in oratore: lenitas vocis, vultus, pudoris significatio, verborum comitas. Si quid persequare acrius, (hic habes verum colorem, § 722.) ut invitus et coactus facere videare. — Ea omnia, quae proborum, demissorum, non acrium, non pertinacium, non litigiosorum, non acerborum sunt, (habes fucum pertinacis et acerbi litigatoris) valde benevolentiam conciliant.
But the qualities that attract favour to the orator are a soft tone of voice, a countenance expressive of modesty, a mild manner of speaking; so that if he attacks any one with severity, he may seem to do so unwillingly and from compulsion. [...] And everything that characterizes men of probity and humility, not acrimonious, nor stubborn, nor litigious, nor harsh, very much conciliates benevolence.
Quemadmodum vehemens proprie et recte Macrobio VI. 8. nimio impetu ac vi mentis instructum significat, M. § 699: ita genus cogitandi vehemens et atrox fucum potius, quam verum ac laudabilem colorem, prae se feret, nisi admisceatur eidem genus lenitatis atque mansuetudinis. Cic. de or. II. 200. / The first portion presents true color (§722); the latter, the false coloring of the stubborn and bitter litigant. Just as vehement, properly and rightly in Macrobius VI.8, means instructed with too great an impulse and force of mind, Metaphysics §699, so a vehement and fierce kind of thinking will display false coloring rather than true and praiseworthy color unless a kind of gentleness and mildness is mixed with it, Cicero, De oratore II.200.
§ 724
Hinc
Hence
mollienda est in plerisque alio colore asperitas orationis.
In many cases it is desirable to soften the harshness of our language by the infusion of a more conciliatory tone, as, for example, Cicero did in his speech dealing with the children of the proscribed.,
Quint. XI. 1. Unde colligas et asperum cogitandi genus colorem esse, et genus illud lenitatis atque mansuetudinis, § 723. quo gnarus aliquis
Quintilian XI.1. From this you may gather both that the rough kind of thinking is a color, and that the kind of gentleness and mildness, §723, by which some expert
animorum tractandorum artifex assequatur, ut aliquid eorum quoque caussa videatur facere, contra quos armatus est.
For this reason that supreme artist in playing on the minds of men admits that it is hard, but asserts that the constitution is so essentially dependent on the laws of Sulla, that their repeal would inevitably involve its destruction. Thus he succeeded in creating the impression that he was doing something on behalf of those very persons against whom he spoke.,
Iungamus luctibus convenienti colori, § 722. necessarium periclitanti sollicitudinis colorem, eumque, quem
is a color. Let us join to the color fitting griefs, §722, the color of anxiety necessary to one in danger, and that which
sola habet poenitentia, si nulla contingit iis, qui peccaverant, excusatio.
But if there is no excuse available, penitence is our only hope. For the man who is converted to the hatred of his own errors, may perhaps be regarded as sufficiently reformed.,
l. c.
cited place.
Adspice, quot submittat humus formosa colores!
"See what hues lovely earth sends forth;"
Prop.
At cave, ne in fucum degenerent vel nimium trucis atque violenti, vel effaeminati, cogitandi generis, ne in foedam desperantium trepidationem, aut vilem ac humilem ante factorum exsecrationem ac palinodian.
Propertius. But beware lest these degenerate into false coloring either of an excessively grim and violent kind of thinking, or of an effeminate one, or into the foul trepidation of despairing people, or a cheap and low execration and palinode of deeds already done.
Hinc
Hence
mollienda est in plerisque alio colore asperitas orationis.
In many cases it is desirable to soften the harshness of our language by the infusion of a more conciliatory tone, as, for example, Cicero did in his speech dealing with the children of the proscribed.,
Quint. XI. 1. Unde colligas et asperum cogitandi genus colorem esse, et genus illud lenitatis atque mansuetudinis, § 723. quo gnarus aliquis
Quintilian XI.1. From this you may gather both that the rough kind of thinking is a color, and that the kind of gentleness and mildness, §723, by which some expert
animorum tractandorum artifex assequatur, ut aliquid eorum quoque caussa videatur facere, contra quos armatus est.
For this reason that supreme artist in playing on the minds of men admits that it is hard, but asserts that the constitution is so essentially dependent on the laws of Sulla, that their repeal would inevitably involve its destruction. Thus he succeeded in creating the impression that he was doing something on behalf of those very persons against whom he spoke.,
Iungamus luctibus convenienti colori, § 722. necessarium periclitanti sollicitudinis colorem, eumque, quem
is a color. Let us join to the color fitting griefs, §722, the color of anxiety necessary to one in danger, and that which
sola habet poenitentia, si nulla contingit iis, qui peccaverant, excusatio.
But if there is no excuse available, penitence is our only hope. For the man who is converted to the hatred of his own errors, may perhaps be regarded as sufficiently reformed.,
l. c.
cited place.
Adspice, quot submittat humus formosa colores!
"See what hues lovely earth sends forth;"
Prop.
Propertius.
At cave, ne in fucum degenerent vel nimium trucis atque violenti, vel effaeminati, cogitandi generis, ne in foedam desperantium trepidationem, aut vilem ac humilem ante factorum exsecrationem ac palinodian.
But beware lest these degenerate into false coloring either of an excessively grim and violent kind of thinking, or of an effeminate one, or into the foul trepidation of despairing people, or a cheap and low execration and palinode of deeds already done.
Hinc
Hence
mollienda est in plerisque alio colore asperitas orationis.
In many cases it is desirable to soften the harshness of our language by the infusion of a more conciliatory tone, as, for example, Cicero did in his speech dealing with the children of the proscribed.,
Quint. XI. 1. Unde colligas et
Quintilian XI.1. From this you may gather both that
asperum cogitandi genus colorem esse,
the rough kind of thinking is
et genus illud lenitatis atque mansuetudinis, § 723.
a color, and that the kind of gentleness and mildness, §723,
quo gnarus aliquis
by which some expert
animorum tractandorum artifex assequatur, ut aliquid eorum quoque caussa videatur facere, contra quos armatus est.
For this reason that supreme artist in playing on the minds of men admits that it is hard, but asserts that the constitution is so essentially dependent on the laws of Sulla, that their repeal would inevitably involve its destruction. Thus he succeeded in creating the impression that he was doing something on behalf of those very persons against whom he spoke.,
Iungamus luctibus convenienti colori, § 722.
is a color. Let us join to the color fitting griefs, §722,
necessarium periclitanti sollicitudinis colorem, eumque, quem
the color of anxiety necessary to one in danger, and that which
sola habet poenitentia, si nulla contingit iis, qui peccaverant, excusatio.
But if there is no excuse available, penitence is our only hope. For the man who is converted to the hatred of his own errors, may perhaps be regarded as sufficiently reformed.,
l. c.
cited place.
Adspice, quot submittat humus formosa colores!
"See what hues lovely earth sends forth;"
Prop.
Propertius.
At cave, ne in fucum degenerent
But beware lest these degenerate into false coloring either
vel nimium trucis atque violenti, vel effaeminati, cogitandi
of an excessively grim and violent kind of thinking,
generis, ne in foedam desperantium trepidationem,
or of an effeminate one, or into the foul trepidation
aut vilem ac humilem ante
of despairing people, or a cheap and low
factorum exsecrationem ac palinodian.
execration and palinode of deeds already done.
Hinc / Hence
mollienda est in plerisque alio colore asperitas orationis.
In many cases it is desirable to soften the harshness of our language by the infusion of a more conciliatory tone, as, for example, Cicero did in his speech dealing with the children of the proscribed.,
Quint. XI. 1. Unde colligas et asperum cogitandi genus colorem esse, et genus illud lenitatis atque mansuetudinis, § 723. quo gnarus aliquis / Quintilian XI.1. From this you may gather both that the rough kind of thinking is a color, and that the kind of gentleness and mildness, §723, by which some expert
animorum tractandorum artifex assequatur, ut aliquid eorum quoque caussa videatur facere, contra quos armatus est.
For this reason that supreme artist in playing on the minds of men admits that it is hard, but asserts that the constitution is so essentially dependent on the laws of Sulla, that their repeal would inevitably involve its destruction. Thus he succeeded in creating the impression that he was doing something on behalf of those very persons against whom he spoke.,
Iungamus luctibus convenienti colori, § 722. necessarium periclitanti sollicitudinis colorem, eumque, quem / is a color. Let us join to the color fitting griefs, §722, the color of anxiety necessary to one in danger, and that which
sola habet poenitentia, si nulla contingit iis, qui peccaverant, excusatio.
But if there is no excuse available, penitence is our only hope. For the man who is converted to the hatred of his own errors, may perhaps be regarded as sufficiently reformed.,
l. c. / cited place.
Adspice, quot submittat humus formosa colores!
"See what hues lovely earth sends forth;"
Prop. / Propertius.
At cave, ne in fucum degenerent vel nimium trucis atque violenti, vel effaeminati, cogitandi generis, ne in foedam desperantium trepidationem, aut vilem ac humilem ante factorum exsecrationem ac palinodian. / But beware lest these degenerate into false coloring either of an excessively grim and violent kind of thinking, or of an effeminate one, or into the foul trepidation of despairing people, or a cheap and low execration and palinode of deeds already done.
§ 725
III. Est SUBMISSUM COGITANDI GENUS, animi viribus ac impetui parcentis propter reverentiam. Quod quamdiu tantum sibi temperat ab affectanda ubertate, dignitate, exacto veri studio, nitore, ac ornatu, argumentationibus et contentione vehementioribus, quantum vel debita cogitanti, si qua debetur ipsi, reverentia, vel ea, quam ipse debeat nunc rebus ac personis, de quibus aut contra quas meditatur, nunc futuris suae meditationis spectatoribus praecipuis, κατ' ἤθη, § 698. postulaverit: verum et naturalem colorem servat, § 622, 623. Neque negliget moratum hoc, § 226, 227. et aequabile, § 267. et strictius etiam temperatum cogitandi genus, § 270. regulam illam apud Ciceronem, Off. I. 90;
III. There is a SUBDUED KIND OF THINKING, sparing the powers and impulse of the soul because of reverence. So long as it restrains itself from affected abundance, dignity, exact zeal for truth, brightness and ornament, more vehement arguments and contention, only as much as either reverence owed to the thinker, if any is owed to him, or that reverence which he himself owes now to things and persons about which or against which he meditates, now to the future principal spectators of his meditation, κατ' ἤθη, §698, requires, it preserves true and natural color, §§622–623. Nor will this moralized, §§226–227, equable, §267, and even more strictly tempered kind of thinking, §270, neglect Cicero's rule in De officiis I.90:
Recte videntur praecipere, qui monent, ut, quanto superiores simus, tanto nos submissius geramus.
There seems to be sound advice, therefore, in this word of warning: “The higher we are placed, the more humbly should we walk.”.
III. Est SUBMISSUM COGITANDI GENUS, animi viribus ac impetui parcentis propter reverentiam.
III. There is a SUBDUED KIND OF THINKING, sparing the powers and impulse of the soul because of reverence.
Quod quamdiu tantum sibi temperat ab affectanda ubertate, dignitate, exacto veri studio, nitore, ac ornatu, argumentationibus et contentione vehementioribus, quantum vel debita cogitanti, si qua debetur ipsi, reverentia, vel ea, quam ipse debeat nunc rebus ac personis, de quibus aut contra quas meditatur, nunc futuris suae meditationis spectatoribus praecipuis, κατ' ἤθη, § 698. postulaverit: verum et naturalem colorem servat, § 622, 623. Neque negliget moratum hoc, § 226, 227. et aequabile, § 267. et strictius etiam temperatum cogitandi genus, § 270. regulam illam apud Ciceronem, Off. I. 90;
So long as it restrains itself from affected abundance, dignity, exact zeal for truth, brightness and ornament, more vehement arguments and contention, only as much as either reverence owed to the thinker, if any is owed to him, or that reverence which he himself owes now to things and persons about which or against which he meditates, now to the future principal spectators of his meditation, κατ' ἤθη, §698, requires, it preserves true and natural color, §§622–623. Nor will this moralized, §§226–227, equable, §267, and even more strictly tempered kind of thinking, §270, neglect Cicero's rule in De officiis I.90:
Recte videntur praecipere, qui monent, ut, quanto superiores simus, tanto nos submissius geramus.
There seems to be sound advice, therefore, in this word of warning: “The higher we are placed, the more humbly should we walk.”.
III. Est SUBMISSUM COGITANDI GENUS,
III. There is a SUBDUED KIND OF THINKING, sparing
animi viribus ac impetui parcentis propter reverentiam.
the powers and impulse of the soul because of reverence.
Quod quamdiu tantum sibi temperat ab affectanda ubertate,
So long as it restrains itself from affected abundance,
dignitate, exacto veri studio, nitore, ac ornatu,
dignity, exact zeal for truth, brightness and ornament,
argumentationibus et contentione vehementioribus, quantum vel debita cogitanti,
more vehement arguments and contention, only as much as either reverence
si qua debetur ipsi,
owed to the thinker, if any is owed
reverentia, vel ea,
to him, or that reverence which he
quam ipse debeat nunc rebus ac personis,
himself owes now to things and persons
de quibus aut contra quas meditatur,
about which or against which he meditates,
nunc futuris suae meditationis spectatoribus praecipuis,
now to the future principal spectators of
κατ' ἤθη, § 698. postulaverit:
his meditation, κατ' ἤθη, §698, requires,
verum et naturalem colorem servat, § 622, 623.
it preserves true and natural color,
Neque negliget moratum hoc, § 226, 227. et aequabile, § 267.
§§622–623. Nor will this moralized, §§226–227, equable, §267,
et strictius etiam temperatum cogitandi genus, § 270.
and even more strictly tempered kind of thinking, §270,
regulam illam apud Ciceronem, Off. I. 90;
neglect Cicero's rule in De officiis I.90:
Recte videntur praecipere, qui monent, ut, quanto superiores simus, tanto nos submissius geramus.
There seems to be sound advice, therefore, in this word of warning: “The higher we are placed, the more humbly should we walk.”.
III. Est SUBMISSUM COGITANDI GENUS, animi viribus ac impetui parcentis propter reverentiam. / III. There is a SUBDUED KIND OF THINKING, sparing the powers and impulse of the soul because of reverence.
Quod quamdiu tantum sibi temperat ab affectanda ubertate, dignitate, exacto veri studio, nitore, ac ornatu, argumentationibus et contentione vehementioribus, quantum vel debita cogitanti, si qua debetur ipsi, reverentia, vel ea, quam ipse debeat nunc rebus ac personis, de quibus aut contra quas meditatur, nunc futuris suae meditationis spectatoribus praecipuis, κατ' ἤθη, § 698. postulaverit: verum et naturalem colorem servat, § 622, 623. Neque negliget moratum hoc, § 226, 227. et aequabile, § 267. et strictius etiam temperatum cogitandi genus, § 270. regulam illam apud Ciceronem, Off. I. 90; / So long as it restrains itself from affected abundance, dignity, exact zeal for truth, brightness and ornament, more vehement arguments and contention, only as much as either reverence owed to the thinker, if any is owed to him, or that reverence which he himself owes now to things and persons about which or against which he meditates, now to the future principal spectators of his meditation, κατ' ἤθη, §698, requires, it preserves true and natural color, §§622–623. Nor will this moralized, §§226–227, equable, §267, and even more strictly tempered kind of thinking, §270, neglect Cicero's rule in De officiis I.90:
Recte videntur praecipere, qui monent, ut, quanto superiores simus, tanto nos submissius geramus.
There seems to be sound advice, therefore, in this word of warning: “The higher we are placed, the more humbly should we walk.”.