,transcriber's ,note3 ,every effort has been made to replicate this text as faithfully as possible1 including obsolete and variant spellings and other inconsistencies4 ,text that has been changed to correct an obvious error is noted at the end of this ebook4 ,the ,augustan ,reprint ,society ,an ,essay on ,true and ,apparent ,beauty in ,which ,from ,settled ,principles is ,rendered the ,grounds for ,choosing and ,rejecting ,epigrams by ,pierre ,nicole ,translated by ,j4 ,v4 ,cunningham ,publication ,number #bd 7,series ,,iv1 ,no4 #e7 ,los ,angeles ,william ,andrews ,clark ,memorial ,library ,university of ,california #aiej ,,general ,,editors ,h4 ,,richard ,,archer1 ,clark ,memorial ,library ,,richard ,c4 ,,boys1 ,university of ,michigan ,,edward ,,niles ,,hooker1 ,university of ,california1 ,los ,angeles ,h4 ,t4 ,,swedenberg1 ,,jr41 ,university of ,california1 ,los ,angeles ,,assistant ,,editors ,w4 ,,earl ,,britton1 ,university of ,michigan ,,john ,,loftis1 ,university of ,california1 ,los ,angeles ,,advisory ,,editors ,,emmett ,l4 ,,avery1 ,state ,college of ,washington ,,benjamin ,,boyce1 ,university of ,nebraska ,,louis ,i4 ,,bredvold1 ,university of ,michigan ,,cleanth ,,brooks1 ,yale ,university ,,james ,l4 ,,clifford1 ,columbia ,university ,,arthur ,,friedman1 ,university of ,chicago ,,samuel ,h4 ,,monk1 ,university of ,minnesota ,,ernest ,,mossner1 ,university of ,texas ,,james ,,sutherland1 ,queen ,mary ,college1 ,london ,,introduction ,the following essay forms the introduction to a famous anthology of the seventeenth century1 the ,epigrammatum delectus1 a ,port-,royal textbook published at ,paris in #afei4a ,the essay was twice translated into ,french in the same century1 but the use of the text in ,france did not survive1 apparently1 the downfall of the ,port-,royal movement4 ,it was1 however1 later adopted by ,eton ,college1 where it was used in the sixth form4#b ,the text went through thirteen ,english editions between #afhc and #agfb4 ,the author of the essay1 and a collaborator with ,claude ,lancelot in making the selections for the anthology1 was ,pierre ,nicole1 who began teaching in the ,little ,schools around #afdf4 ,it has been said that the essay was written at that time4#c ,the scope of the anthology is indicated on the title page1 which ,i translate3 ,a selection of epigrams carefully chosen from the whole range of ancient and modern poets1 and so on4 ,with an essay on true and apparent beauty1 in which from settled principles is rendered the grounds for choosing and rejecting epigrams4 ,there are added the best sententiae of the ancient poets1 chosen sparingly and with severe judgement4 ,with shorter sententiae1 or proverbs1 ,latin1 ,greek1 ,spanish1 and ,italian1 drawn both from the chief authors of those languages and from everyday speech4 ,the essay is preceded by a preface in which the origin1 purpose and method of the anthology is explained4 ,the two ends of instruction1 we are told1#d are learning and character1 and of these the latter is the more important4 ,but there are many books1 and especially books of epigrams1 that are quite filthy and obscene4 ,young people are led by curiosity to read these1 and losing all chastity of mind enter upon a progressive corruption of life4 ,it would be best if they could be kept wholly from such books2 but there is a good deal in them of genuine profit and literary merit1 which makes it difficult to keep them wholly out of the hands of youth4 ,therefore the editor undertook to expurgate the epigrammatists1 especially ,catullus and ,martial4 ,he was horrified when he read over their works1 but he found some good among the bad1 as in vipers not everything is poisonous but some things even useful to health4 ,his primary purpose1 then1 was to protect the good young man from being harmed and to leave him no excuse for wishing to have or peruse such books since the good in them had already been extracted for him4 ,the difficulty then arose of making the selection serve the purposes both of morality and of judgement4 ,the editor could either gather together all the epigrams that were not obscene1 or he could choose only the best4 ,he took in fact both ways3 he preserved everything of ,catullus and ,martial except the cheapest odds and ends and filthiest obscenities1 and he applied strict standards of judgement to the rest so that1 unless an epigram had literary merit or contained something worth knowing1 he felt there was no reason to burden the book with it4 ,nevertheless1 some middling epigrams found entrance into the anthology--he confesses the fact so the reader will not look for excellence without flaw4 ,the reasons were1 first1 that the complete perfection he was looking for is seldom or never attained4 ,hence1 if he had admitted only those epigrams in which there was nothing to censure1 the task would not have been one of selecting some but rather of rejecting almost all4 ,again1 in epigrams dealing with memorable events or in praise of famous men1 sometimes he looked to the profit of the work rather than to its polish1 as in ,ausonius' quatrains on the ,caesars4 ,finally1 he will not deny that chance has played its part against his will4 ,as a judge after a series of severe sentences will give a lighter one to a man no less guilty than the others1 so after rejecting a great number of epigrams by some writer a sense of pity arose and a distaste with severity of judgement2 then if anything that seemed pointed turned up1 though no better than what was rejected1 he could not bear to see it discarded4 ,this has occasionally happened1 but hardly ever without a warning note to the reader4 ,he admits that some1 perhaps quite excellent1 epigrams have escaped him1 either because he never read them or because he was at the moment of reading less attentive4 ,but the paucity or lack of selections from a given writer should not be taken as an indication of ignorance or indiligence in that case4 ,rather1 he confidently professes to have exerted the greatest patience and industry--patience1 since so many were so bad4 ,his hope was by his trouble to free others from so much trouble4 ,with this in mind he read countless authors of different ages and countries1 a total of around #ej1jjj epigrams1 from most of which nothing at all was worth excerpting4 ,there is no point in memorializing the names of the bad1 except to note in passing that he found hardly anything so inept as the ,delitiae1 as they call them1 of the ,german poets#e--;in this connection he gives special mention to the book of ,lancinus ,curtius#f1 which contains #b1jjj epigrams4 ,he found some fairly tolerable epigrams in other books1 which nevertheless he excluded1 for what is lacking in distinction is better not known at all than learned at the expense of better things1 not to speak of its being a burden to the mind which gradually will lose the ability to judge excellence1 and so1 becoming accustomed to mediocrity1 will be unable to attempt anything higher4 ,there is no more useful motto for a man in quest of solid learning than ,grotius' line3 ,not to know some things is a large part of wisdom4#g ,the editor added to the epigrams a collection of sententiae since the two forms are quite cognate1 the sententia being a kind of shorter epigram1 for the principal part of an epigram1 the conclusion1 usually consists in a sententia4 ,it is true that such collections have come in bad repute1 and not wholly unjustly1 but the thing itself is worth doing4 ,for what is our aim in reading books except to nourish and fashion judgement8 and what better serves this end than sententiae1 which furnish as it were the premises and axioms by which one is able to form a just and true judgement on most of the duties and affairs of human life8 ,hence he extracted these gems from the huge pile of trifles in which they lay mixed4 ,perhaps they please less in isolation than when one runs across them as he reads1 and for this reason such anthologizing should be contemned4 ,but it would be precious to refuse a great accession of profit because of a small dimunition of pleasure4 ,the editor thought that in many cases the selections should not be published without notes1 for epigrams have often some obscurity in them and their whole charm is lost unless the light that would illuminate it is at hand4 ,the notes to the selections from ,martial are pretty largely taken from ,farnaby4 ,elsewhere the editor has supplied notes sparingly1 at those points where the reader might be stuck4 ,he has also changed the titles of a good many pieces1 especially where the original involved the name of some fictitious or base person4 ,the purpose of a title is to recall the whole piece to memory or to facilitate finding it in an index4 ,why1 then1 title an epigram ,to ,gargilianus or ,cecilianus1 which gives no idea of what the epigram is about8 ,the editor1 therefore1 has substituted titles which express as well as possible the force of the poem1 a difficult task especially when the meaning is compact1 as only one who has tried it knows4 ,but that out of the brevity of this book the reader may get that ability in judgement1 which above all should be cultivated1 the editor thought it worth while to prefix to the anthology an exposition of the norms of judgement used in selecting the epigrams4 ,he drew these norms not merely from his own wit or from the authorities of ,antiquity1 but from the conversation of learned men experienced in civilized life4 ,hence the reader will find here their judgements1 not the editor's1 and will1 if he is unbiased1 perceive how just and accurate they are4 ,the preface is then followed by the essay4 ,the principles of the essay1 as ,nicole asserted above in the preface1 are not peculiarly his own but those of the group with which he was associated4 ,they are the principles1 for example1 of the ,port-,royal logic3 particularly #a71 one of the most important rules of true rhetoric1 that there is nothing beautiful except that which is true2 which would take away from discourse a multitude of vain ornaments and false thoughts2 and #b7 the doctrine that the figurative style commonly expresses1 with the things1 the emotions which we experience in conceiving or speaking of them1 and hence in the light of the adjustment of feeling to the situation we may judge the use which ought to be made of it1 and what are the subjects to which it is adapted4#h ,the purpose of the book is to serve morality and to promote judgement4#i ,to this end the editor provides a check list of the better epigrams1 and affixes an asterisk to designate the best4#aj ,seventeen pieces are given the highest rating3 thirteen of ,martial's 7#a4h1 #a4ba1 #a4cc1 #b4e1 #c4dd1 #c4df1 #d4ef1 #d4fi1 #e4aj1 #e4ac1 #h4fi1 #aj4ec1 and #ab4ac72 the re-written epigram ascribed to ,seneca and discussed in the notes to the essay 7note #cb72 ,claudian on ,archimedes' sphere2#aa ,boethius1 ,de cons4 phil4 #a4m4#d2 and one modern poem1 ,buchanan's dedication of the ,paraphrase of the psalms to ,mary1 ,queen of ,scots4#ab ,j4 ,v4 ,cunningham ,the ,university of ,chicago ,,notes #a ,this paragraph is based largely on ,james ,hutton1 ,the ,greek anthology in ,france1 ,cornell studies in classical philology1 ,,xxviii 7#aidf71 p4 #aib1 and ,the ,greek anthology in ,italy1 ,cornell studies in ,english1 ,,xxiii 7#aice71 pp4 #fi-gj4 #b ,sir ,h4 ,c4 ,maxwell ,lyte1 ,a history of ,eton college1 ,london1 #aiaa1 #dth ed41 p4 #caa4 #c ,nigel ,abercrombie1 ,the origins of ,jansenism1 ,oxford1 #aicf1 p4 #bdf2 no authority is there cited4 #d ,the following paragraphs contain an abbreviated and paraphrastic translation of the preface4 #e ,janus ,gruter1 ,delitiae poetarum germanorum1 #f v41 ,frankfort1 #afab4 #f ,see ,georg ,ellinger1 ,geschichte der neulateinischen literatur ,deutschlands1 ,i1 ,italien und der ,deutsche humanismus1 ,berlin1 #aibi1 pp4 #aae-g4 #g ,the last line of an epigram on learned ignorance1 ,poemata1 ,leyden1 #afcg1 pp4 #cca-b1 printed in the ,delectus1 p4 #cii4 #h ,the ,port-,royal logic1 tr4 ,thomas ,spencer ,baynes1 #hth ed41 ,edinburgh1 n4d41 ,discourse #b1 p4 #ag2 ,part #c4 #bj1 p4 #bhf2 and #a4 #ad1 p4 #ij4 #i ,ibid41 ,discourse #a1 p4 #a1 ,thus the main object of our attention should be1 to form our judgement1 and render it as exact as possible2 and to this end1 the greater part of our studies ought to tend4 #aj ,lipsius had suggested some such procedure 7,justus ,lipsius1 ,epist4 quaest41 #a4e1 ,opera omnia1 ,antwerp1 #afcg1 ,i1 p4 #adc73 ,he would do a service to the world of letters who would make a selection of ,martial's epigrams in the fashion of the old critics and would affix a mark of praise to the good and of blame to the bad4 #aa ,shorter poems #ea1 ,claudian1 ed4 ,maurice ,platnauer1 #b v41 ,loeb classical library1 ,london1 #aibb1 ,,ii1 #bgh-ha4 #ab ,poemata1 ,amsterdam1 #afhg1 p4 #a2 not in ,opera omnia1 ,leyden1 #agbe4 ,,an ,,essay ,,on ,,true ,,and ,,apparent ,,beauty ,,in ,,which ,,from ,,settled ,,principles ,,is ,,rendered ,,the ,,grounds ,,for ,,choosing ,,and ,,rejecting ,,epigrams4 ,why men's judgments on beauty differ so much4 ,i should say that the reason why even learned men differ so widely and display so great a range of opinion in judging the excellence of particular writers is that practically no one looks to reason and weighs the matter in the light of true and settled principles4 ,indeed everyone in the act of judging embraces a hastily conceived opinion and follows his impressions without reflection or judgment4 ,thus it is that few have made any attempt so far to arrive at an exact knowledge of the nature of true beauty1 by which in the last analysis all else must be determined2 rather1 each has immediately pronounced that to be beautiful which affected him with some sort of pleasure4 ,yet there is no norm of judgment more misleading or more variable1 for a false and adulterate beauty will give pleasure to minds imbued with deformed opinions whom a true and solid beauty often cannot affect4 ,it follows there is nothing so ugly that it will not please someone or other1 and nothing on the other hand so absolutely beautiful that it will not displease someone4 ,farmers will be found to dance to absurd songs1 and whole theaters time and again roar at the tasteless jokes of the actors4 ,similarly1 there are a good many who find little or no delight in ,vergil or ,terence1 though there is nothing in the world of letters more polished--such is the power of custom and preconceived opinion to impart or preclude delight4 ,consequently1 if we wish to dissociate ourselves from the fickle mob of opinions1 we must have recourse to reason1 which is single1 fixed1 and simple4 ,we must discover by her aid that true and genuine figure of beauty with which is marked whatever is truly beautiful and finished1 and from which whatever departs is justly called ugly and repugnant to taste4 ,reason leads us directly to nature and establishes that to be generally beautiful which accords both with the nature of the thing itself and with our own4 ,for example1 if an object that is excessive or defective in some part is thought ugly1 it is because it diverges from nature which demands a completeness in the parts and despises excess4 ,almost everything that is judged to be ugly is so judged for the same reason3 you will always observe that there is here some flaw at variance with a rightly constituted nature4 ,nevertheless1 for an object to be declared beautiful it is not enough that it answer to its own nature2 it must also be congruent with ours4 ,for our nature1 being invariable both in the soul and in the body endowed with senses1 has definite inclinations and aversions by which it is either attracted or estranged4 ,thus our eye is moved with pleasure by certain colors1 our ear is drawn by a certain kind of sounds2 one thing delights the soul1 one repels it1 each in the measure that it corresponds or is repugnant to our ways of feeling4 ,however1 what is meant by nature here is not any nature at all1 since some are misshapen1 perverse1 and corrupt4 ,what is meant is a nature corrected and well-ordered from whose inclinations must arise the judgement of beauty and charm4 ,however1 the essence of true beauty is such that it is not fugitive1 changeable1 or of one time1 but rather invariable1 fixed1 persistent and such as pleases all times equally4 ,and although there may be found some men of so corrupt a nature that they despise beauty1 nevertheless they are but few4 ,and even these may be recalled to truth by reason1 since false beauty though it may for a while have its admirers cannot long hold them1 for nature itself which cannot be erased will gradually beget in them a distaste for it4 ,for1 as ,cicero so notably says1 time that erases the fictions of opinion only confirms the judgements of nature4#a ,if we may apply this maxim to literature we may say that that is truly beautiful which agrees both with the nature of things themselves and with the inclinations of our senses and of our soul4 ,and since in a work of literature one takes account of sound1 diction1 and idea1 the agreement of all these with nature in its two aspects is required for beauty4 ,hence we will take these up one by one1 beginning with sound4 ,,on ,,sound ,how seldom it charms in echoing the sense1 how commonly by sweetness4 ,its natural measure in the ear4 ,we have assigned the first division of natural beauty to sound1 which we distinguish from diction in that propriety and force of meaning are looked to in this2 in sound it is the pleasantness or harshness that is regarded1 flattering or offending the ear1 or it is a kind of imitation of the subject-matter--sad things recited tearfully1 excited rapidly1 or harsh harshly4 ,this is common enough in the spoken word2 in writing1 however1 with which we are chiefly concerned here1 it is uncommon1 though ,vergil sometimes quite happily represents the sound of things themselves1 their swiftness and slowness1 in the sound of his verse4 ,when you hear1 for example1 the well-known procumbit humi bos1 do you not seem to hear the blunt sound of the falling bull8 ,or when you read the line ,quadrupedante putrem sonitu quatit ungula campum1#b doesn't the sound of running horses strike your ears8 ,but this effect1 as ,i said1 is uncommon1 and hardly to be found in any other poet than ,vergil4 ,thus the chief potentiality of sound1 and the most common1 lies in charming the ear4 ,it is a slight beauty1 yet it is of nature1 and for this reason especially agreeable to all classes of people4 ,for there is scarcely any person so uneducated as not to be naturally displeased at what is incomplete and botched1 or not to perceive what is full1 ordered1 and defined4 ,hence ,cicero says justly in the ,orator3 ,the ear1 or the soul at the injunction of the ears1 possesses a natural way of measuring sounds1 by this judges some longer1 some shorter1 and ever anticipates the completion of a measure4 ,it feels hurt when a rhythm is maimed or curtailed as if it had been defrauded of due payment4 ,it dislikes even more whatever is prolonged and runs on beyond the proper bounds1 since too much is more offensive than too little4 ,not that everyone knows the metrical feet1 or understands anything about rhythm1 or is aware of what offends him1 or where1 or why2 it is rather that nature has set in our ears a power of judging the length and brevity of sound1 as also the acute and grave accent of words4#c ,pleasantness of sound is justly exacted of poets4 ,the harshness of many poets1 particularly the ,german4 ,some are too melodious4 ,hence it is that anyone who wishes to conform to nature must necessarily strive for pleasantness of sound4 ,this is the more justly exacted of poets since poetry itself is nothing other than measured language1 bound into fixed numbers and feet1 for the purpose of charming the ear4 ,consequently1 those poets are justly censured who rest content with rounding off their words in six feet and altogether neglect to accommodate the ear4 ,a good many epigrammatists are constant offenders in this kind1 especially those who have rendered the ,greek ,anthology in ,latin and the ,german poets4 ,for example1 who can tolerate this ,german epigram8 ,he who made all that nothing was of nothing1 ,who'll make that nothing that now something is1 ,made you who nothing were what you now are ,from nothing1 will make nothing what you are-- ,yes1 or if something1 being but sin from sin1 ,from sin must form something for heaven fit4 ,again1 what is harsher than this epigram8 ,you from your soul could not but know mine that ,that gave up in your ghost but just now his3 ,as soul is known from soul so is your ghost ,known to the ,muses by my muse that's yours4 ,or than this distich8 ,forward1 nor turn from the old path one bit3 ,this that you are ,i while ,i live shall be4#d ,but just as it is a considerable fault in diction wholly to neglect the pleasure of the ear1 since verse1 as we said1 was devised to flatter it1 so on the other hand those writers make a grievous mistake who have an immoderate regard for the ear1 and pay no attention to the thought so long as they are satisfied with the sound4 ,out of such concern we get tuneful trifles and verses empty of substance4 ,writers who have by an attentive consideration of the poets achieved the faculty of poetic diction and rhythm quite often fall into this error4 ,they abound in choice phrases and so are in effect content to smooth over the commonplace with a not indecorous make-up4 ,you can see this in many poems and epigrams of ,buchanan1 ,borbonius1 and ,barleius4 ,if the reader is not quite attentive such poems will often deceive him1 but being re-read and examined they beget a kind of distaste because of the thinness of the matter4 ,consequently1 we have looked carefully for this fault1 and have eliminated many poems that are melodious in this way and have nothing inside4 ,how diction should be suited to subject-matter4 ,we come now to the question of conforming the diction and subject-matter to nature1 in which1 as was said above1 nature must be considered in its double aspect3 namely1 in relation to the subjects of which we speak1 and in relation to the audience by whom we are heard or read4 ,the agreement of words and subject consists in this3 that lofty words should be fitted to lofty subjects1 and lowly to lowly4 ,it is true1 of course1 that every kind of writing demands simplicity1 but the simplicity meant is such as does not exclude sublimity or vehemence4 ,in fact1 it is no less faulty to treat high and weighty subjects in a slight and unassuming style than it is to treat what is slight and unassuming in a high and weighty style4 ,in both of these ways one departs from that agreement with nature in which1 we have said1 beauty resides4 ,therefore1 not every piece of writing admits the rhetorical figures and ornaments1 and likewise not every one excludes them4 ,the answer lies wholly in whether there is throughout a complete harmony between diction and subject4 ,in addition1 ,i wish you would carefully observe something that few do--namely1 when you temper your diction to the subject1 to regard it not only as it is in itself or in the mind of the writer1 but also as it has been formed by your speech in the minds of your audience4 ,thus1 the reader is assumed to be unacquainted with what you have to say at the beginning of a work1 and hence you must use simple language to initiate him into your lines of thought4 ,afterwards you may build upon this foundation what you can4 ,it follows that if you are to speak of some outrageous crime1 you should not inveigh against it with a comparable violence of diction until your audience has achieved such a notion of the crime as will not be at odds with such force and violence4 ,thus ,vergil begins in the best way with simple diction3 ,arms and the man ,i sing who first from ,troy ,banished by fate came to the ,italian shore4 ,and ,homer1 too1 who was praised for this by ,horace3 ,speak to me1 ,muse1 of him1 when ,troy had fallen1 ,who saw the ways of many and their cities4 ,but ,statius begins badly1 and sweeps the reader away too suddenly in these verses3 ,fraternal arms1 and alternate rule by hate ,profane contested1 and the guilt of ,thebes ,i sing1 moved by the fiery ,muse4 ,claudian is even more at fault1 and thrusts these bombastic lines on our unprepared attention3 ,the horses of ,hell's rapist1 the stars blown ,by the ,taenarian chariot1 chambers dark ,of lower ,juno 444 ,but this rule should particularly be observed in the use of adjectives1 which are always ill-joined with their noun when they disaccord with the impression the reader has in his mind4 ,i have seen the opening of ,lucan censured on this point3 ,wars through ,emathian fields1 wars worse than civil1 ,and crime made legal is my song4 ,the critics urge that the epithet worse than civil could justly be employed after the depiction of the slaughter at ,pharsalia1 but that here it is out of order and suddenly attacks the reader who was thinking of no such thing4 ,it offends against the precept of ,horace3 ,not smoke from brightness is his aim1 but light ,he gives from smoke4#e ,in what way diction should answer to man's inner nature4 ,first1 the grounds of the natural disaffection with unusual diction3 how far this should be observed4 ,but it is not sufficient that diction answer to the subject-matter unless it also answers to the nature of man1 in which may be discerned a kind of aversion to obsolete1 low1 and inappropriate words4 ,i prefer to call this aversion a natural one rather than a result of opinion1 though it is in a way based on opinion4 ,for although the feeling that a particular word is more in common use and more civilized than another is purely a matter of men's judgement1 nevertheless it is as natural to be displeased by the unusual and inappropriate as it is to be pleased with the usual and proper4 ,whatever is contrary to reason offends by the very fact that it is seen to lack reason4 ,certainly1 to leave aside familiar terms and to search out unusual ones is wholly foreign to reason4 ,however1 there is added to this natural source of offense another that proceeds from opinion4 ,since such words are commonly condemned1 there is associated with them a certain distaste and contempt such that it is scarcely possible to pronounce them without immediately arousing the associated feelings4 ,consequently1 the intelligent writer will willingly comply with usage so as not to give grounds for displeasure--whether this displeasure springs from nature or opinion4 ,though he is aware that usage is unstable and changes day by day1 nevertheless he will prefer rather to please at one time than never4 ,he will be careful1 however1 in his written work not to make use of the current jargon1 especially of the ,french court and women's circles1 or of any locutions that are not yet generally received4 ,for the life of such expressions is too short to be bound into a lasting work--not to speak of the detestable affectation which detracts from the weight and dignity of the writing4 ,to conclude1 there is a beauty and charm in propriety and elegance of diction which is not to be scorned1 though it is but of a time1 and1 since it rests on opinion1 by which usage is determined1 will pass away with a change of opinion4 ,hence those who write not for an age but for all time should try to attain something else1 something that has no admixture of opinion3 ,such is the agreement of words with nature1 which we will now explain4 ,the inner and more intimate agreement of words and nature4 ,if one wishes to look deeply into the nature of the human mind and to search out its inner sources of delight1 he will find there something of strength conjoined with something of weakness1 and out of this circumstance arises variety and irregularity4 ,the mind's vexation with a continual relaxation derives from its strength1 while from its weakness stems the fact that it cannot bear a continual straining4 ,hence it is that nothing pleases the human mind very long1 nothing that is all of one piece4 ,so in music it rejects a wholly perfect harmony1 and for this reason musicians deliberately intercalate discordant sounds--what are technically called dissonances4 ,so1 finally1 it happens that physical exercise1 even if it was at first undertaken for pleasure1 becomes a torture when continued without interruption4 ,this point has its pertinence to literature1 the more so since in that field nature reveals the greatest delicacy and cannot long endure what is lofty and excited4 ,yet on the other hand1 whatever creeps close to earth and never lifts its head is1 if it be prolonged1 wearisome4 ,to stand1 to rest1 to rise up1 to be thrown down1 this is what every reader or listener desires1 and from this derives the driving necessity for variety1 for the mingling of the majestic and slight1 excited and calm1 high and low4 ,but it may seem that this consideration has little pertinence to the epigram1 which is brief and so in less need of variety4 ,however1 ,i need not apologize for introducing these more general considerations since others of more immediate pertinence to the course of our discussion are derived from them1 and particularly the question of the discriminate use of metaphors1 which are of considerable effect in adorning or vitiating poetry4 ,for if we consider attentively why men are pleased with metaphors we will find no other reason than that already stated3 the weakness of nature which is wearied by the inflexibility of truth and plain statement and must be refreshed by an admixture of metaphors which depart somewhat from the truth4 ,this gives the clue to the proper and legitimate use of metaphors2 they are to be employed specifically1 as musicians employ discordant sounds1 to relieve the distaste of perfect harmony4 ,but how frequently and at what point they should be introduced is a matter of considerable caution and skill4 ,one warning will suffice for the present3 that metaphors1 hyperboles1 and whatever varies from the plain and natural way of saying something should not be sought for their own sakes but as a kind of relief for nauseated nature4 ,they are to be accepted on grounds of necessity1 and consequently a good deal of moderation must be observed in their use4 ,thus ,quintilian rightly says1 ,a sparing and opportune use of these figures gives lustre to speech2 frequent use obscures and fills with disgust4#f ,you will discover this fault often in many epigrams1 especially in those of contemporary writers as ,i shall show by several examples later on4 ,however1 lest this doctrine should issue in too strict an austerity of diction1 it should be noted that only those expressions are to be taken as metaphors that are remote from ordinary usage and offer the mind a double idea4 ,hence if a metaphor is so commonplace that it no longer has a figurative connotation and suggests nothing other than the notion itself for which it is used1 then it should be numbered among proper rather than metaphorical expressions and does not fall in that class of tropes whose too frequent use is here censured4 ,on a too metaphorical style4 ,certain epigrams rejected for this reason4 ,though poets are granted a greater indulgence in the use of tropes1 nevertheless they have their own mean1 or1 as ,cicero says1 their own modesty1 and there is ever an especial ornament to be derived from simplicity4 ,consequently those writers stray pretty far from beauty for whom1 as it were1 all nature plays the ham to the point that they say nothing in an ordinary way1 imagine nothing in the way in which it is perceived outside of poems1 but instead elevate1 debase1 alter1 and clothe everything in a theatrical mask4 ,for this reason we have excluded from this anthology a number of epigrams as too metaphorical3 for example1 these two by ,daniel ,heinsius1 a man otherwise eminent in scholarship and letters3 ,driver of light1 courier of the bright pole1 ,surveyor of the sky1 and hour-divider1 ,servant of time1 circler perpetual1 ,cleanser of earth1 disperser of the clouds1 ,ever your chariot1 fiery four-in-hand1 ,you curb fast2 you who bear on the bright day ,steal from the world once more your countenance ,and of your glowing hair conceal the flame2 ,tomorrow from the arms of ,tethys you ,return once more3 but night has sealed my sun4 ,by my sun he means ,douza4 ,and again3 ,sweet children of the night1 brothers of fire1 ,small cohorts1 citizens of the fiery pole1 ,who wandering through the cloudless fields of air ,lead the soft choruses with a light foot ,when our tired bodies are stretched softly out ,and gentle sleep invades our conquered sense1 ,why now as then through the enamelled halls ,from the recesses1 still1 and the clear windows ,of the gold arch bear off his hallowed face8 ,farewell1 at last2 you shall not see your ,douza4#g ,in these epigrams1 apart from the metaphors heaped up ad nauseam1 and each of them harsh and absurd1 a keen critic has noted another fault3 namely1 that nothing is more distant from the spirit of a man grieving and mourning for the death of a friend--and this is what ,heinsius intended to depict--than such a wantonness of epithets4 ,and so much for diction4 ,truth1 the primary virtue of ideas4 ,how great a fault there is in untruth4 ,thence1 of false epigrams4 ,we take up now the question of ideas1 and postulate again that these too must conform both to the subject and to men's character4 ,ideas agree with the subject if they are true1 if they are appropriate1 and if they so to speak get into the insides of the thing4 ,they are in accord with men's character if they fit in with natural aversions or desires4 ,the primary virtue of ideas is truth4 ,whatever is false is at variance with external reality1 nor is there any beauty in falsity except in so far as it pretends to truth4 ,from this you may gather that truth is the source of beauty1 falsity of ugliness4 ,the latter1 in fact1 is out of keeping not only with reality but also with human nature4 ,for we possess an innate love of truth and an aversion to falsehood1 so that what delights us when it seems to be true becomes disagreeable and unpleasant when its falseness is made manifest4 ,this principle applies to those learned men whom we have mentioned several times now1 and has led to the exclusion from this anthology of many epigrams in which the point rests on a falsehood3 for example1 there is the well-known one by ,grotius1 though simply as a poem it is noble enough3 ,on ,joan of ,arc1 who is called ,la pucelle d',orleans ,french ,amazon of never-dying fame1 ,virgin untouched by men and by men feared1 ,nor ,venus in her eyes nor young ,desire ,but ,mars and ,terror and the bloody ,weird-- ,france owes the ,salic ,law to her alone1 ,and hers is the true king on the true throne4 ,let none lament her death who was all fire ,and never1 or by fire alone1 should die4#h ,i have ventured to cite this that the reader may see quite clearly what is involved in this kind of falsehood and how much it is repugnant to nature3 namely1 that something is alleged the contrary of which might as plausibly be affirmed4 ,for ,grotius might have written no less foolishly3 ,justly lament her death3 she who was fire ,should not by fire but by cold water die4 ,actually1 if we wish to get to the bottom of this fault we will find that men are not led to it by nature but driven to it by lack of skill4 ,for they would not fly to the refuge of falsehood for any other reason than that they are not vigorous enough to elicit beauty from the subject itself4 ,truth1 indeed1 is limited and defined1 but the realm of lies is unlimited and undefined4 ,hence the one offers difficulties for invention1 the other is obvious and easy1 and for that reason also is to be scorned4 ,moreover1 falsehood occurs not only in propositions but also in the delineation of feeling1 as1 for instance1 when feelings are ascribed to a character other than those which nature and the subject-matter demand4 ,you will find this fault in an epigram by ,vulteius1 which was for this reason rejected3 ,i viewed one day the marble stone ,that hides a man in sin well-known4 ,i sighed and said1 ,what is the point ,of such expense8 ,this tomb might serve ,to house kings and the blood of kings ,that now conceals a villainous corpse4 ,i burst in tears that copiously ,flowed from my eyes down both my cheeks4 ,a stander-by took me to task ,in some such words1 ,i think1 as these3 ,aren't you ashamed1 be who you may1 ,to mourn the burial of this plague8 ,but ,i replied1 ,my tears are shed ,for the lost tomb1 not his lost head4#i ,it was surely foreign to nature to represent a man weeping copiously because a villain and scoundrel had been buried in a noble tomb1 for the funeral honors paid to scoundrels excite anger and indignation rather than pity and tears4 ,the poet1 consequently1 adopted an erroneous feeling when he wept where he should have been angry and wrathful4 ,on mythological epigrams4 ,untruth1 then1 is a considerable fault1 one that is quite widespread and one that embraces many sub-divisions4 ,under this category falls especially the use of mythological propositions1 the common vehicle of poets when they have nothing to say4 ,we have rejected many epigrams that are faulty in this kind1 as1 for example1 ,grotius on the ,emperor ,rudolph1 which is too crowded with myths3 ,not ,mars alone has favored you1 ,invincible1 ,at whom as enemy barbarian standards shake1 ,but the ,divine ,community with gifts adore you1 ,and with this in especial from the wife of ,zephyr3 ,she to the ,dutch ,apelles did perpetual spring ,ordain1 and meadows living by the painter's hand4 ,alcinous' charm is annual1 and ,adonis' gardens1 ,nor do the ,pharian roses bloom long in that air2 ,antique ,pomona of ,semiramis has boasted1 ,and yet deep winter climbs the summit of her roof4 ,how shall your honors fail8 ,the garlands that you wear ,beseem ,imperial triumph1 which time may not touch4#aj ,i know there are other things to be censured in this epigram1 but ,i note here only that one fault which it was quoted to illustrate4 ,on puns4 ,to the same general category may be referred most puns1 the point of which usually rises from some untruth4 ,for example1 in ,sannazaro's well-known epigram3 ,happy has built twin bridges on the ,seine3 ,happy the ,seine may call her ,pontifex4#aa ,if you take ,pontifex in the sense of builder of bridges the thought is true1 but pointless2 consequently1 for there to be a point the word ,pontifex must be taken in the sense of ,bishop1 and in this sense it will be false that the ,pontifex is happy4 ,similarly1 in another epigram of some reputation3 ,they say you're treating ,cosma for his deafness1 ,and that you promised1 ,french1 a definite cure2 ,but you can't bring it off for all your deftness3 ,he'll hear ill of himself while tongues endure4#ab ,take audire as referring to the sense of hearing and the thought is false1 since that physical defect is curable2 take it as referring to a good reputation1 and the thought will again be false and inept1 for it is false and inept that a doctor will labor in vain to cure a defect of the ears because he cannot medicine to a diseased reputation4 ,all puns are embarrassed by such faults1 while on the other hand their charm is quite thin1 or rather nonexistent4 ,formerly1 it is true1 in an earlier age there was some praise for that kind of thing1 and so ,cicero and ,quintilian are said to have derived polished witticisms from the device of double-meaning2 now1 however1 it is rightly held in great contempt1 so much so that men of taste not only do not hunt for puns but even avoid them4 ,they are1 one must admit1 more bearable1 or at least less objectionable when they come spontaneously2 but anyone who brings out ones he has thought up or indicates that he himself is pleased with them is quite properly judged to be inexperienced in society4 ,hence it is that epigrams whose elegance is derived from puns are held of no account4 ,for since verses are only composed by labor and diligence he is justly considered to be a weak and narrow spirit who wastes time in fitting such trivial wit into verse4 ,one should add1 too1 that there is another disadvantage in puns1 that they are so imbedded in their own language that they cannot be translated into another4 ,for these reasons we have admitted few punning epigrams into this anthology1 and those only as examples of a faulty kind4 ,on hyperbolical ideas4 ,in the category of false ideas must be reckoned the hyperbolical4 ,these are not false in a given word1 for we dealt with this above1 but false in the whole train of thought4 ,of this kind is that epigram of ,ausonius1 the absurdity of which is unbearable3 ,riding in state1 as on an elephant1 ,faustus fell backwards off a silly ant2 ,abandoned1 tortured to the point of death ,by the sharp hooves1 his soul stayed on his breath ,and his voice broke3 ,envy1 he cried1 begone6 ,laugh not at my fall6 ,so fell ,phaethon4#ac ,ausonius was imitating in this epigram the ,greeks1 who were quite open to this sort of bad imitation1 as may be seen in their ,anthology which is stuffed full of such hyperboles4 ,a good many fall into the same fault either because their talent is weak or because they write for the unskilled--a consideration which should move those who have no compunction about reading1 let alone praising1 the silly tales of ,rabelais which are filled with stupid hyperboles4 ,on debatable and controvertible ideas4 ,furthermore1 debatable and double-edged ideas1 about which the reader is in doubt whether they be false or true1 fall under the same category of falseness4 ,for this doubtfulness1 since it takes away all pleasure1 removes also the beauty4 ,for this reason ,i have never approved the conclusion of ,martial's epigram3 ,equal the crime of ,antony and ,photinus3 ,this sword and that severed a sacred head-- ,the one head laurelled for your triumphs1 ,rome6 ,the other eloquent when you would speak4 ,yet ,antony's case was worse than was ,photinus'3 ,one for his master moved1 one for himself4#ad ,the reader is bothered by a sort of quiet annoyance that the poet should so confidently take a dubious idea for a certain one4 ,he might easily argue against the poet that on the contrary it seemed to him that a man who commits a crime for his master is more at fault than one who commits it for himself1 and he could support his position with rational arguments4 ,for one who sins for his own advantage is driven to his deed by such emotions as rage1 lust1 and fear1 and these as they diminish the power of willing in like measure diminish the magnitude of the offence4 ,but one who effects a crime at another's behest comes coldly to the deed1 a fact that convicts him of a far greater depravity4 ,one could allege these and similar lines of argument against ,martial's position1 and could reverse the sense of his distich so that it read no less irrationally3 ,yet ,antony's case was better than ,photinus'3 ,one for his master moved1 one for himself4 ,hence this whole category of controvertible ideas lacks literary merit and should be studiously avoided by those who aim at beauty1 which in the last analysis is to be found in truth alone1 and in truth of such a sort that as soon as it is proposed the reader recognises as true and accepts it4 ,the second virtue of ideas1 that they should agree with the inner nature of the subject2 and thence on ideas foreign and accidental to the subject4 ,the second virtue of ideas with respect to the subject-matter is that they should agree with its inner nature3 that is1 that they should be elicited out of the very inners of the subject and not far-fetched or drawn from external accidents which are only the accompaniments of things4 ,by this rule we have been delivered from numerous frigid epigrams1 of which ,i subjoin a few examples3 ,foreign and far-fetched is ,owen's on a lyre3 ,that there is concord in so diverse chords ,discordant mankind some excuse affords4#ae ,as if nothing were more pertinent for making men ashamed of their discords than the concord of strings on a lyre4 ,from concomitant accidents1 and not from the very heart of the subject itself1 is drawn this epigram of ,germanicus ,caesar1 though the verses are otherwise sufficiently polished3 ,the ,thracian boy at play on the stiff ice ,of ,hebrus broke the waters with his weight ,and the swift current carried him away1 ,except that a smooth sherd cut off his head4 ,the childless mother as she burned it said3 ,this for the flames ,i bore1 that for the waves4#af ,certainly the mother had a deeper and more native cause of grief than that her son was destroyed partly by water and partly by fire2 she would have grieved no less had he perished wholly in water or wholly in fire4 ,the whole reason for grief1 then1 ought not be sought in such a slight circumstance1 which was an accompaniment of and not the grounds for grief4 ,negative descriptions labor under the same fault1 namely those in which are enumerated not what the endowments of the subject are but what they are not4 ,this is justly censured in one of ,barlaeus' epigrams1 which is in other respects quite polished3 ,of royal ,bourbon blood1 by whose aid once ,belgium believed that ,god inclined to her2 ,for sceptered fathers famed1 more famed for war1 ,and by ,astraea's doom of rare renown2 ,whom ,war as general1 ,peace lauds unarmed1 ,to whom so many lands and seas are slaves2 ,neither the fleece drinking barbarian dye ,i send you1 nor ,sidonian artifice1 ,nor ,indian ivory1 ,dalmatian stone1 ,nor the choice incense that delights grave ,jove1 ,nor warring eagles1 no1 nor cities stormed1 ,nor plundered canvas from the conquered sea2 ,louis1 ,i give you ,christ as ,king and ,lord1 ,titles not foreign to the ones you bear3 ,for ,i would send you1 greatest of all kings1 ,than which ,i cannot more1 ,i send you ,god4#ag ,surely it is a long way around to enumerate what you will not give the ,king in order to make clear how slight your gift is4 ,besides1 the conclusion is harsh in that a book about ,christ is called ,god and ,christ1 as if ,christ and a book about him were the same thing4 ,but this is a commonplace absurdity of what one may call the dedicatory genre1 in which writers almost always speak of their book as if there were no difference between the book itself and its subject3 thus1 if they write about ,caesar or ,cato1 ,caesar and ,cato1 they say1 prostrate themselves before you2 ,if about ,cicero1 ,look1 they say1 ,cicero addresses you and takes you as patron3 all of which are correctly to be reckoned in the category of false statements4 ,in what way ideas are to be made agreeable to men's character4 ,on avoiding offense2 and1 first1 on obscenity4 ,the harmony of idea and subject is a matter fairly easy to understand1 but the attuning of idea and men's character is more difficult to grasp and requires more painstaking treatment4 ,for in this inquiry the whole scope of human nature must be thoroughly examined1 and our silent inclinations and aversions must be laid open so that we will know how to avoid the one and comply with the other4 ,for it cannot be that anything should please that offends nature1 or anything displease that complies with natural inclinations4 ,we will touch briefly on some of these points1 but only on those that suffice to our purposes4 ,in the first place1 there is in the nature of man an aversion to the shameful and the obscene1 and this the more powerful in the best and well-educated natures4 ,all obscene ideas offend this sense of shame to such an extent that they are regarded as alien to nature1 ugly1 and uncivilised4 ,nor does it matter that some corrupt souls laugh at them4 ,for civilization1 as we have said1 does not consist in agreement with a corrupt1 but with a virtuous and moral1 nature4 ,consequently1 absolutely nothing of this kind is to be found in the conversation of respectable men1 and is only resorted to by those who lack any feeling for ,christianity as well as for genuine society and civilization4 ,therefore we have excluded all shameful and licentious epigrams not only in deference to morals and religion but also to good taste and civilization4 ,of this ,catullus and ,martial in ,antiquity witness that they had no perception at all1 for they filled up their works with a good deal of ill-bred filth1 and on that account must be regarded not only as dissolute but also as vulgar1 uncultivated1 and1 to use ,catullus' own phrase1 goat-milkers and ditch-diggers4#ah ,on the cheap subject-matter of some epigrams4 ,but it is not only faulty and unpolished to offer the reader a shameful and obscene picture but also in general to depict whatever is cheap1 ugly1 and unwelcome4 ,hence those epigrams cannot be regarded as beautiful and polished whose subject is a toothless hag1 a poetaster with a threadbare cloak1 a rank old goat1 a filthy nose1 or a glutton vomiting on the table--all of which are a fertile ground of jokes for actors--since ugliness of that sort can never be redeemed by the point4 ,for this reason we have admitted none of such kind in the epigrams of ,martial which we have subjoined to this treatise1 and a good many epigrams that we have run across we have put aside1 such as ,buchanan's in which he depicts the unattractive and unpleasant picture of a lank old man3 ,while ,naevolus yells he can outbellow ,stentor1 ,and roars and roars1 ,all men are animals1 ,he has slipped by almost his ninetieth year ,and bent senility shakes his weak step4 ,now three hairs only cling to his smooth head1 ,and he sees what a night-owl sees at dawn4 ,the snot is dripping from his frosty nose1 ,and stringed saliva falls on his wet breast-- ,not an odd tooth in his defenceless gums1 ,not an old ape so engraved with wrinkles4 ,naevolus1 for shame leave this frivolity ,and no more cry1 ,all men1 since you are none4#ai ,again1 the baseness of the subject and the hardly pleasant or civilized image of a hanging man is a fault in this epigram of ,sannazaro's1 although it has an element of humor3 ,in your desire to learn your fortune1 sir1 ,you questioned every tripod1 every rune2 ,you'll stand out above gods and men1 at last ,answered the god in truth-revealing voice4 ,what arrogance you drew from this6 ,you were ,immediately lord of the universe4 ,now you ascend the cross4 ,god was no cheat3 ,the whole world lies spread out beneath your feet4#bj ,this is fairly respectable and merely low4 ,but the cynical license of ,martial and ,catullus1 by which they speak of many things that are not simply morally foul but such as decent society demands be removed from sight and hearing1 must be regarded as altogether shameless and vulgar4 ,for this reason men of taste never mention favorably ,catullus' ,annales ,volusi cacata charta1 or ,martial's et desiderio coacta ventris gutta pallia non fefellit una#ba ,and there are many others a good deal more despicable which cannot be adduced even as examples of a fault4 ,assuredly ,antiquity was too forbearing toward this sort of thing1 and ,i have often wondered how ,cicero could have been tolerated in the ,roman ,senate when he inveighed against ,piso3 ,do you not remember1 blank1 when ,i came to see you about the fifth hour with ,gaius ,piso1 you were coming out of some dirty shack1 slippers on your feet and your face and beard covered2 and when you breathed on us that low tavern air from your fetid mouth1 you apologized on grounds of ill health1 saying that you were taking a kind of wine treatment8 ,when we had accepted your explanation--what else could we do8--we stood a while in the smell and fume of the joints you patronize until you kicked us out by the impudence of your answers and the stench of your belches4#bb ,on spiteful epigrams4 ,men with some gentleness of nature have an inborn hatred of spite1 especially of such as mocks bodily flaws or reversals of fortune1 or1 finally1 anything that happens beyond the individual's responsibility4 ,for1 since no man feels himself free of such strokes of chance1 he will not take it easily when they are torn down and laughed at4 ,the ,vergilian ,dido spoke with human feeling when she said3 ,not unaware of ill ,i learned to aid misfortune4#bc and the good will of the reader rises quietly in her favor4 ,likewise1 ,seneca says nicely3 ,it is not witty to be spiteful4#bd ,on the other hand they act inhumanely who triumph over misfortune and upbraid what was not guiltily effected1 to such an extent that they arouse a feeling of aversion and alienation in the hearts of their readers4 ,accordingly we have admitted only a few of this kind1 and have rejected a great many1 as1 for example1 ,owen's frigid and spiteful epigram3 ,look1 not a hair remains on your bright skull4 ,the hairs on your inconstant brow are null4 ,with every last hair lost behind1 ahead1 ,what has the bald man left to lose8 ,his head4#be ,nor do we greatly care for many of the same kind in ,martial1 which nevertheless were not omitted for the reasons given above4#bf ,on wordy epigrams4 ,it would be a long task to assemble all the natural aversions1 nevertheless we may add a few more which have removed a whole host of epigrams from this anthology4 ,beyond those already mentioned1 nature finds distasteful long circumlocutions and the piling up of a single point with varying phrase2 for nature burns with a desire to find out1 ever hastens to the conclusion1 and is impatient at being detained by much talk unless there is a special reward4 ,consequently wordy epigrams beget a good deal of loathing1 especially those that do not sufficiently balance their length with the magnitude of the idea4 ,some of ,martial's are burdened with this fault2 sometimes they accumulate too many commonplace compliments or are too petty in enumeration4 ,for example1 in this epigram to what point are so many trite similes piled up8 ,her voice was sweeter than the aged swan1 ,none would prefer the ,eastern pearl before her1 ,or the new-polished tooth of ,indic beasts1 ,or the first snow1 lilies untouched by hand2 ,she who breathed fragrance of the ,paestan rose1 ,compared with whom the peacock was but dull1 ,the squirrel uncharming1 and unrare the phoenix1 ,erotion1 is still warm on a new pyre4#bg ,similarly1 why in another well-known epigram is the same idea repeated again and again8 ,oh not unvalued object of my love1 ,flaccus1 the darling of ,antenor's hearth1 ,forego ,pierian songs1 the sisters' dances3 ,no girl among them ever gave a dime4 ,phoebus is nought2 ,minerva has the cash1 ,is shrewd1 is only usurer to the gods4 ,what's there in ,bacchus' ivy8 ,the black tree ,of ,pallas bends with mottled leaves and weight4 ,on ,helicon there's only water1 wreaths1 ,the divine lyres1 and profitless applause4 ,why do you dream of ,cirrha1 bare ,permessis8 ,the forum is more ,roman and more rich4 ,there the coins clink1 but round the sterile chairs ,and desks of poets only kisses rustle4#bh ,in the same way that nature is displeased with wordiness1 she is displeased with ideas that are too commonplace1 for it is a kind of loquacity to bubble on with the commonplace and trite1 since it is the purpose of speech to reveal what isn't known1 not to repeat what is known and worn-out4 ,countless epigrams have been excluded from this selection for this fault1 but since there is nothing more common ,i will omit offering examples4 ,on trifling wit1 and plays on words4 ,not a little displeasing1 also1 is an assiduity in trifling which withdraws the mind from solid subject-matter out of which true beauty springs4 ,plays on words1 puns and other playing around of that kind1 unless they come to the judgement of the pen within the bounds of art1 are not so much figures of speech as faults of style1 and in those epigrams where the point rests solely in these there is nothing thinner1 especially when they are so peculiar to one language that they cannot be translated into another4 ,on this basis we have passed over such frivolous witticisms as ,owen's3 ,rope ends the robber1 death is his last haul2 ,the gallows gets the gangster--if not all1 ,if many get away1 ,god gives no hope3 ,it's an odd thief dies with no coffin rope4#bi ,a little more humorous is that of another poet on the ,swiss killed at night1 though it too is faulty3 ,annihilated in night snow by a nut stick1 ,i snow1 night1 nut1 now1 and annihilation know4#cj ,in what way natural inclinations are to be gratified4 ,we must carefully avoid all these natural sources of aversion and no less gratify natural inclinations if we wish to attain that beauty we aim at4 ,for self-love is so strong in men that they can hear nothing with pleasure unless it flatters them with their own feelings4 ,for which reason those epigrams have correctly been judged best that penetrate deeper into those feelings and present to the reader's mind an idea recognised not only by the interior light but also by the interior feeling as quite true1 so that he can be seduced into embracing it3 for example1 ,martial's3 ,i scorn the fame purchased with easy blood ,and praise the man who can be praised alive4#ca ,for1 since everyone hates death and longs for praise and glory1 there is no one who would not be glad if he could be praised without dying4 ,another example is that of the old poet3 ,put high disdain1 deciduous hope put by3 ,live with yourself who with yourself must die4#cb ,for nature has1 as ,quintilian said1 a kind of elevation intolerant of anything above it#cc that fawns on anyone who bids it be contemptuous of a pride in riches4 ,this much on the general sources of beauty and ugliness will be sufficient for passing judgement on any genre of poems4 ,nevertheless1 this should be adapted to the particular nature1 laws1 and principles of the epigram1 and so it will not be out of point to add a few remarks on the epigram itself4 ,the origin of the name epigram4 ,its definition1 form1 and laws4 ,epigram1 as ,scaliger observes1 is the same thing as inscription2 but since there are inscriptions of a good many things the former word has been applied to short poems inasmuch as epigrams of that sort used to be inscribed on monuments and statues2#cd and from this the word has been extended generally to short poems4 ,the epigram is defined1 then1 as a short poem directly pointing out some thing1 person1 or deed4#ce ,there are those who locate its formal principle in the serious or witty idea that forms the conclusion1 and so insist on this that they deny anything is an epigram that lacks such a conclusion4#cf ,but this is an error4 ,there are some epigrams1 and highly cultivated ones1 that have an equable elevation throughout and nothing of especial note in the conclusion1 as in this of a contemporary writer3 ,that on insurgent serpents breathing peace1 ,on unplumed eagles trembling1 on tame pards1 ,and lions whose low necks accept the yoke1 ,louis looks out1 sublime on a bronze horse1 ,nor fingers shaped this nor the craftsman's forge ,but worth and ,god's fortune accomplished it4 ,the armed venger of faith1 trustee of peace1 ,ordained1 for all to reverence1 this1 and bade ,rise in the royal place the reverend bronze1 ,that1 the long perils past of civil strife1 ,and enemies subdued by prosperous arms1 ,louis should ever triumph in the master city4#cg ,again1 in some epigrams there is a straightforward neatness and a gentle and dry humor that pleases1 as may be seen in some of ,catullus' epigrams which we have put in this anthology4 ,some go to the contrary extreme and not only do not require such conclusions but even scorn them4 ,these are for the most part the outrageous lovers of ,catullus who1 as long as they finish off some limp little dirge in hendecasyllabics1 feel that they are marvellously charming and polished1 although there is nothing more empty than such verses or nothing easier to do if a man has acquired a little practice in ,latin4 ,how little effort1 for instance1 shall we imagine the conclusion of this epigram cost ,borbonius1 fashioned as it is according to the model of ,catullus8 ,wherefore come1 ,o ,roman muses1 ,full of honey and of graces1 ,learned verses of good ,pino2 ,i embrace you1 just ,camenae1 ,all day long ,i read you gladly ,in this mortifying season1 ,time of tears and time of penance1 ,harsh and troublesome1 by ,jupiter6#ch ,you can see where the perverse imitation of ,catullus has conducted a ,christian1 in other respects devout1 so that in discussing a ,christian fast day he had no fear of using the profane name of ,jove4 ,but1 leaving this aside1 what is more inept than the verse ,harsh and troublesome1 by ,jupiter61 however ,catullan4 ,nevertheless1 ,borbonius thought his epigram concluded elegantly in that line because he found in ,catullus a similar one4#ci ,but1 leaving aside such spiritless imitators1 one can truly affirm of those ideas that conclude epigrams that there is a good deal of elegance in them when they are themselves distinguished and nicely cohere with the preceding chain of thought4 ,for1 since nothing so sticks in the reader's mind as the conclusion1 what is better than to put there what especially you want to fix in his soul4 ,consequently1 those epigrams are rightly censured as faulty that go in the order of anti-climax or in which the conclusion is sort of added on or appended to the rest and does not neatly develop out of the preceding verses4 ,this fault is discernible in the following epigram1 though in other respects it is distinguished3 ,you that a stranger in mid-,rome seek ,rome ,and can find nothing in mid-,rome of ,rome1 ,behold this mass of walls1 these abrupt rocks1 ,where the vast theatre lies overwhelmed4 ,here1 here is ,rome6 ,look how the very corpse ,of greatness still imperiously breathes threats6 ,the world she conquered1 strove herself to conquer1 ,conquered that nothing be unconquered by her4 ,now conqueror ,rome's interred in conquered ,rome1 ,and the same ,rome conquered and conqueror4 ,still ,tiber stays1 witness of ,roman fame1 ,still ,tiber flows on swift waves to the sea4 ,learn hence what ,fortune can3 the unmoved falls1 ,and the ever-moving will remain forever4#dj ,the last four verses are completely unnecessary and contain a frigid point by which the lustre of the preceding is dimmed4 ,the material of epigrams2 thence the division into different kinds4 ,the first kind and the second4 ,the material of epigrams comprises any subject and anything that can be said on it--in fact1 there are as many kinds of epigrams as there are kinds of things that can be said4 ,we will notice here particularly those kinds from which the special powers of each can be understood4 ,there is1 then1 a kind of epigram that is elevated1 weighty1 sublime1 pursuing a noble subject in noble lines and concluding with a noble sentiment4 ,such is ,martial's on ,scaevola3 ,that hand that sought a king and found a slave ,was thrust to burn up in the sacred fire3 ,so cruel a portent the good enemy ,appalled1 who bade him carried from the fire4 ,the hand the regicide endured to burn1 ,the king could not endure to see it done4 ,greater the glory of the hand deceived6 ,had it not erred it had accomplished less4#da ,of the same sort are ,grotius' epigrams on ,ostend and on the sailing carriages1 and ,barclay's on ,margaret of ,valois4#db ,there is another sort somewhat lower in style but weighty and profitable in idea3 for example1 that truly distinguished one of ,martial3 ,in that you follow the strict rules of ,cato ,and yet are willing to remain alive ,and will not run bare-breasted on the sword ,you do exactly as ,i'd have you do3 ,i scorn the fame purchased with easy blood ,and praise the man who can be praised alive4#dc ,and this3 ,in private she mourns not the late-lamented2 ,if someone's by her tears leap forth on call4 ,sorrow1 my dear1 is not so easily rented4 ,they are true tears that without witness fall4#dd ,and that genuinely golden epigram3 ,that ,i now call you by your name ,who used to call you sir and master1 ,you needn't think it impudence4 ,i bought myself with all ,i had4 ,he ought to sir a sir and master ,who's not himself1 and wants to have ,whatever sirs and masters want4 ,who can get by without a slave ,can get by1 too1 without a master4#de ,however1 of all kinds of epigram that kind is generally thought to be most properly epigrammatic which is distinguished by a witty and ingenious turn that deeply penetrates the soul4 ,martial excels in this kind1 as in this one3 ,you serve the best wines always1 my dear sir1 ,and yet they say your wines are not so good4 ,they say you are four times a widower4 ,they say 444 ,a drink8 ,i don't believe ,i would4#df and in this3 ,though you send presents to old men and widows ,why should ,i call you1 sir1 munificent8 ,there's nothing lower1 dirtier than you only ,who can denominate enticements gifts4 ,these are the sly hooks for the greedy fish1 ,these are the clever baits for the wild beasts4 ,i will instruct you what it is to give ,if you are ignorant3 give1 sir1 to me4 #dg ,some are lower in style but witty and pleasant1 and have a glowing simplicity1 as can be illustrated by another of ,martial's3 ,an epic epigram1 ,i heard you say4 ,others have written them1 and so ,i may4 ,but this one is too long4 ,others are too4 ,you want them short8 ,i'll write two lines for you3 ,as for long epigrams let us agree ,they may be skipped by you1 written by me4#dh ,and1 indeed1 of all the special capabilities of the epigram none is more difficult to realise or more rarely achieved than the adroit handling1 the suitable and easy unfolding1 of the subject so that nothing is redundant1 nothing wanting1 nothing out of order1 obscure1 or tangled up in verbiage1 and yet at the same time nothing too unexpected1 nothing not adequately prepared for4 ,martial is pre-eminent in this2 he develops his subjects so aptly1 clearly1 and perceptively that he obtains for ideas of no special note otherwise a good deal of distinction by the charm of the handling4 ,for example1 what could be more resourcefully developed than this epigram8 ,believe me1 sir1 ,i'd like to spend whole days1 ,yes1 and whole evenings in your company1 ,but the two miles between your house and mine ,are four miles when ,i go there to come back4 ,you're seldom home1 and when you are deny it1 ,engrossed with business or with yourself4 ,now1 ,i don't mind the two mile trip to see you2 ,what ,i do mind is going four to not to4#di ,and what would the following epigram be if it had not been perfected and prepared for by the handling8 ,that no one meets you willingly1 ,that where you come they go1 that vast ,areas of silence circle you-- ,why so8 you ask4 ,too much the bard4 ,this makes it terribly1 terribly hard4 ,who would put up with what ,i do8 ,you read verse if ,i stand or sit2 ,you read it if ,i run or sing2 ,and in the baths you read me verse2 ,i try the pool1 and swim in verse2 ,i haste to dine1 you go my way2 ,i order1 and you read me out2 ,worn out1 ,i take my rest with verse4 ,you want to know what harm you do8 ,just1 upright1 harmless1 you're a pest4#ej ,the conclusion is pleasantly witty1 but the special charm of the poem derives from the preceding enumeration4 ,this finishes the account of what we looked to in selecting these epigrams4 ,you will find what else is pertinent to this book in the preface4 ,notes ,i have silently emended a few passages2 otherwise the text translated is that of ,epigrammatum ,delectus1 ,paris1 #afei4 ,it is regrettable that the ,latin text1 at least of the poems cited1 could not be printed with the translation4 #a ,de nat4 deor4 #b4b4e #b ,aen4 #e4dha and #h4eif #c #agg-h1 #agc #d ,all three passages are from epigrams by ,gaspar ,conrad in ,janus ,gruter1 ,delitiae poetarum germanorum1 #f v41 ,frankfort1 #afab3 ,,ii1 #ajfe-f1 lines #a-f of a twelve line epigram1 ,in symbolum ,iacobi ,monavi2 ,,ii1 #ajgg1 the concluding lines of an eight line epigram1 ,ad ,valentinum ,maternum2 and ,,ii1 #ajgi1 the concluding couplet of a six line epigram1 ,ad ,georgum ,menhadum ,philophilum4 ,the second passage is hardly construable4 #e ,ars4 poet4 #ada-b1 the paraphrase of ,homer1 and #adc-d4 ,the other quotations in this passage are from the opening of the ,aeneid1 ,thebaid1 ,rape of ,proserpine1 and the ,pharsalia4 #f ,inst4 orat4 #h4f4ad #g ,manes ,dousici1 ,,iv ,ad solem and ,v ,ad sidera1 ,poemata1 ,leyden1 #afac1 p4 #aff4 ,nicole reads tandem for rursus in the last line of the second poem4 ,douza is the younger ,janus ,douza 7#aega-aeif74 ,nicole's criticism of these poems is just but superficial4 ,the difficulty with such poems lies in the method1 which consists in the establishment by amplification of one pole1 followed by the briefest statement of the contrary pole4 ,but the latter is of personal concern and is the essential subject of the poem4 ,thus the subject is deliberately avoided for the greater part of the poem1 and hence there is in the amplification no principle of order to control the detail and its accumulation4 ,this accounts for the features ,nicole censures2 however1 he himself makes a similar point below in condemning negative descriptions4 #h ,i have been unable to find this among ,grotius' poems4 #i ,joannes ,vulteius 7c4#aeaj-aedb71 ,de ignobili ,aruerno in sepulchro nobili posito1 ,hendecasyllaborum libri iv1 ,paris1 #aech1 ,ni41 p4 #ig4 #aj ,ad ,rudolphum ,imp4 florum picturae dedicatio1 ,poemata1 ,leyden1 #afcg1 p4 #cbf4 #aa ,epig4 #a4ej1 ,de ,jucundo architecto1 ,poemata1 ,pavia1 #agai1 p4 #ahi4 #ab ,i have been unable to identify this epigram4 #ac ,a translation of ,anth4 ,pal4 #aa4ajd and printed as ,ausonius in the ,renaissance1 but probably by ,girogio ,merula 7c4#adbd-adid73 see ,james ,hutton1 ,the ,greek ,anthology ,in ,italy to the year #ahjj1 ,cornell ,studies in ,english1 ,,xxiii 7#aice71 pp4 #bc-d1 #ajb-e1 and ,ausonius1 ,opuscula1 ed4 ,rudolphus ,peiper1 ,leipzig1 #ahhf1 p4 #dbh4 ,the younger ,scaliger strongly condemns this epigram on the same grounds3 ,joseph ,scaliger1 ,ausoniarum lectionum libri ii1 #b4bj1 ,heidelberg1 #afhh1 p4 #bjd4 #ad #c4ff #ae ,epig4 libri tres1 ad ,d4 ,mariam ,neville1 #b4baa4 ,epigrammata1 ,amsterdam1 #afdg1 p4 #dg4 ,translated by ,thomas ,harvey1 ,john ,owen's ,latin ,epigrams1 ,london1 #afgg1 p4 #cf3 ,sith th' ,harps discording ,strings concording be1 _/ ,is't not a shame for men to disagree8 and by ,thomas ,pecke1 ,parnassi puerperium1 ,london1 #afei3 ,can there be many strings2 and yet no ,jars8 _/ ,and are not men asham'd of dismal wars8 #af ,nicole's text follows what are now regarded as inferior mss3 see ,germanious ,caesar1 ,aratea1 ed4 ,alfred ,breysig1 #bnd4 ed41 ,leipzig1 #ahii1 p4 #eh4 ,the poem corresponds to ,anth4 ,pal4 #g4edb4 ,nicole's comment recalls ,dr4 ,johnson on ,gray's cat4 #ag ,the dedicatory poem1 addressed to ,louis ,,xiii1 to ,caspar ,barlaeus' ,poematum editio nova1 ,leyden1 #afca1 sig499#h4 #ah #bb4aj #ai ,epig4 #a4be1 ,opera ,omnia1 #b v41 ,leyden1 #agbe1 ,,ii1 #cfe4 ,nicole's text presents several variants and cuts the next to the last couplet1 which ,i translate3 ,already at the tomb1 ,he beats the gates _/ ,of ,dis1 and ,libertina waits his torches4 #bj ,epig4 #c4e1 op4 cit41 p4 #bcc4 #ba ,catullus #cf and ,martial #a4aji4 #aj-aa #bb ,pis4 #ac #bc ,aen4 #a4fcj #bd ,anthologia ,latina1 ed4 ,alexander ,riese1 #dab4ag1 ,leipzig1 #ahid1 ,i1 #a1 p4#cai4 ,the epigram1 from which this phrase is quoted1 was ascribed to ,seneca by ,pithoeus4 #be ,epig4444 ad 444 ,neville1 #b4abf1 op4 cit41 p4 #ch4 ,harvey1 p4 #cf1 translates3 ,lo1 not an hair thine heads bald ,crown doth crown3 _/ ,thy ,faithless ,front hath not one hair thine own3 _/ ,before1 ,behind thine hair's blown off with ,blast1 _/ ,what's left thee to be lost8 thine ,head at last4 #bf ,in the preface1 ,delectus1 ,paris1 #afei1 ch4 #b4 ,the problem was whether to print a large collection of epigrams1 rejecting merely the obscene ones1 or to choose only the best4 ,a middle way was taken for these reasons3 #a7 there are so few first-class epigrams that a reader who had his own opinions might think the selection too choosy2 #b7 the best shines out only in comparison with what is not so good1 and examples of vice are as useful as examples of virtue1 since judgement in large measure consists in knowing what to avoid2 #c7 finally and principally1 the curiosity of young men would not be sufficiently satisfied by the selection if they knew that a good many witty and polished epigrams were to be found elsewhere4 ,since it was especially necessary to keep youth from the unspeakable filth of ,catullus and ,martial1 who are at the same time the best writers1 everything of theirs is included except the cheapest odds and ends and filthiest obscenities4 ,for the writers after ,martial stricter standards were applied1 for the book would have grown beyond bounds if everything tolerable had been admitted4 #bg ,martial #e4cg1 #a1 #d-f1 #i1 #ab-ad4 ,the lines that ,nicole cuts contain only more of the same4 #bh ,martial #a4gf #bi ,epig4 libri tres ad ,henricum 444 ded4 #a4fg1 op4 cit41 p4 #aca4 #cj ,unidentified4 ,the text reads3 ,in nive nocte vagans nuceo cado stipite nectus1 _/ ,sic mihi nix1 nox1 nux1 nex fuit ante diem4 #ca #a4h4 #e-f4 #cb ,the conclusion of an epigram of ten lines1 ascribed to ,seneca in ,delectus1 pp4 #cbf-g4 ,lines #a-h correspond to ,anth4 ,lat41 op4 cit41 #djg4 #e-ab4 ,the younger ,scaliger had begun a new epigram with line #e1 as also with lines #i and #aa 7ed41 ,vergil1 ,appendix1 cum supplemento 4441 ,lyons1 #aegb1 pp4 #aif-g47 ,the concluding sententia1 however1 which ,nicole quotes here and praises later in the notes to the anthology1 is from the conclusion of the next epigram1 ,anth4 ,lat41 #djh4 #g-h1 which is a response to the preceding one4 ,but the first two-thirds of the couplet has been rewritten with the aid of something like a ,gradus ad ,parnassum4 ,the ms reads1 nunc et reges tantum fuge6 vivere doctus _/ uni vive tibi nam moriare tibi4 ,nicole reads1 ,mitte superba pati fastidia1 spemque caducam _/ ,despice3 vive tibi1 nam moriere tibi4 superba pati fastidia corresponds to ,vergil1 ,ecl4 #b4ae2 spem 444 caducam to ,ovid1 ,epist4 #ae 7sive #af1 ,paris ,helenae74 #afi 7sive #aga74 ,the epigram as it stands in the anthology1 then1 is a result of ,scaliger's disintegration of ,anth4 ,lat4 #djg1 which suggested beginning with line #e and adding #djh4 #g-h from the responsory poem4 ,but this couplet is subjected to improvement to adjust it to the sense1 to sustain the level of feeling1 and to enhance the sententious point4 ,thus1 with the aid of phrases from ,vergil and ,ovid1 using mitte and despice as fillers and helpers1 the epigram is concluded with a noble1 exalted and true thought1 as the editor says in the notes4 #cc ,inst4 orat4 #aa4a4af4 #cd ,j4 ,c4 ,scaliger1 ,poeticas libri vii1 #c4abe1 #eth4 ed41 #afjg1 p4 #chi4 #ce loc4 cit41 p4 #cij3 ,an epigram1 therefore1 is a short poem directly pointing out some thing1 person1 or deed1 or deducing something from premises4 ,this definition includes also the principle of division--so let no one condemn it as prolix4 ,nicole1 however1 uses only the first half of the definition1 since he rejects the principle of division4 #cf loc4 cit43 ,brevity is a property2 point the soul and1 so to speak1 the form4 ,for a full account of the ,renaissance theory of the epigram and the contemporary controversies1 see ,hutton1 op4 cit41 pp4 #ee-gc1 and ,the ,greek ,anthology in ,france and in the ,latin writers of the ,netherlands to the year #ahjj1 ,cornell studies in classical philology1 ,,xxviii 7#aidf71 passim4 #cg ,anon41 ,in statuam equestrem ,ludouici ,,xiii positam ,parisiis in circo regali1 ,delectus1 pp4 #dji-aj4 #ch ,nicolas ,borbon1 the younger1 ,poematia exposita1 ,paris1 #afcj1 pp4 #add-e1 the concluding lines 7lines #bc-cj7 of an epigram1 ,in versus v4c4 ,iacobi ,pinonis4 #ci ,catullus #a4g #dj ,ianus ,vitalis ,panomitanus 7c4#adhe-aefj71 ,antiquae ,romae ruinae illustres1 ,delectus1 p4 #cff2 see also ,delitiae delitiarum1 ed4 ,ab4 ,wright1 ,oxford1 #afcg1 p4 #ajd1 with textual variants4 #da #a4ba #db ,delectus1 pp4 #cif-g1 #cii-djj1 and #dje4 ,see ,grotius1 op4 cit41 pp4 #cda-b1 and #chc4 #dc #a4h #dd #a4cc #de #b4fh #df #d4fi #dg #d4ef #dh #f4fe #di #b4e #ej #c4dd4 #a-e1 #i-ah4 ,the lines cut1 #f-h1 read in translation3 ,no tigress wild for her lost cubs1 _/ ,no viper burned by the noon sun1 _/ ,no scorpion begets such fear4 ,in line #aa1 line #h of the translation1 ,nicole reads canenti for the received cacanti4 ,the latter reading will yield in translation a rhyme with the preceding line4 ,the ,editors of ,,the ,,augustan ,,reprint ,,society are pleased to announce that ,,the ,,william ,,andrews ,,clark ,,memorial ,,library of ,the ,university of ,california1 ,los ,angeles will become the publisher of the ,augustan ,reprints in ,may1 #aidi4 ,the editorial policy of the ,society will continue unchanged4 ,as in the past1 the editors will strive to furnish members inexpensive reprints of rare seventeenth and eighteenth century works4 ,all correspondence concerning subscriptions in the ,united ,states and ,canada should be addressed to the ,william ,andrews ,clark ,memorial ,library1 #bbje ,west ,adams ,blvd41 ,los ,angeles #g1 ,california4 ,correspondence concerning editorial matters may be addressed to any of the general editors4 ,membership fee continues #b4ej per year 7#b4ge in ,great ,britain and the continent74 ,british and ,european subscribers should address ,b4 ,h4 ,blackwell1 ,broad ,street1 ,oxford1 ,england4 ,publications for the fourth year 7#aidi-aiej7 7,at least six items will be printed in the main from the following list7 ,,series ,,iv3 ,,men1 ,,manners1 ,,and ,,critics ,john ,dryden1 ,his ,majesties ,declaration ,defended 7#afha7 ,daniel ,defoe 7871 ,vindication of the ,press 7#agah7 ,critical ,remarks on ,sir ,charles ,grandison1 ,clarissa1 and ,pamela 7#aged7 ,,series ,v3 ,,drama ,thomas ,southerne1 ,oroonoko 7#afif7 ,mrs4 ,centlivre1 ,the ,busie ,body 7#agji7 ,charles ,johnson1 ,caelia 7#agcc7 ,charles ,macklin1 ,man of the ,world 7#agha7 ,,series ,,vi3 ,,poetry ,,and ,,language ,andre ,dacier1 ,essay on ,lyric ,poetry ,poems by ,thomas ,sprat ,poems by the ,earl of ,dorset ,samuel ,johnson1 ,vanity of ,human ,wishes 7#agdi71 and one of the #agej ,rambler papers4 ,,extra ,,series3 ,lewis ,theobald1 ,preface to ,shakespeare's ,works 7#agcc7 ,a few copies of the early publications of the ,society are still available at the original rate4 ,,general ,,editors ,h4 ,,richard ,,archer1 ,william ,andrews ,clark ,memorial ,library ,r4 ,c4 ,,boys1 ,university of ,michigan ,e4 ,n4 ,,hooker1 ,university of ,california1 ,los ,angeles ,h4 ,t4 ,,swedenberg1 ,,jr41 ,university of ,california1 ,los ,angeles ---------------------------------------- ----------------------------- ,,to ,,the ,,augustan ,,reprint ,,society ,william ,andrews ,clark ,memorial ,library #bbje ,west ,adams ,blvd41 ,los ,angeles #g1 ,california ,,as ,,membership ,,fee ,i enclose for3 ,name ,address ,the fourth year #b4ej ,the third and fourth year #e4jj ,the second1 third and fourth year #g4ej ,the first1 second1 third1 and fourth year #aj4jj ,add 4#be for each year if ordering from ,great ,britain or the continent ,make check or money order payable to ,,the ,,regents ,,of ,,the ,,university ,,of ,,california4 ,note3 ,all income of the ,society is devoted to defraying cost of printing and mailing4 ,,publications ,,of ,,the ,,augustan ,,reprint ,,society ,first ,year 7#aidf-aidg7 #a4 ,richard ,blackmore's ,essay upon ,wit 7#agaf71 and ,addison's ,freeholder ,no4 #de 7#agaf74 7,i1 #a7 #b4 ,samuel ,cobb's ,of ,poetry and ,discourse on ,criticism 7#agjg74 7,,ii1 #a7 #c4 ,letter to ,a4 ,h4 ,esq42 concerning the ,stage 7#afih71 and ,richard ,willis's ,occasional ,paper ,no4 ,,ix 7#afih74 7,,iii1 #a7 #d4 ,essay on ,wit 7#agdh71 together with ,characters by ,flecknoe1 and ,joseph ,warton's ,adventurer ,nos4 #abg and #acc4 7,i1 #b7 #e4 ,samuel ,wesley's ,epistle to a ,friend ,concerning ,poetry 7#agjj7 and ,essay on ,heroic ,poetry 7#afic74 7,,ii1 #b7 #f4 ,representation of the ,impiety and ,immorality of the ,stage 7#agjd7 and ,some ,thoughts ,concerning the ,stage 7#agjd74 7,,iii1 #b7 ,second ,year 7#aidg-aidh7 #g4 ,john ,gay's ,the ,present ,state of ,wit 7#agaa72 and a section on ,wit from ,the ,english ,theophrastus 7#agjb74 7,i1 #c7 #h4 ,rapin's ,de ,carmine ,pastorali1 translated by ,creech 7#afhd74 7,,ii1 #c7 #i4 ,t4 ,hanmer's 787 ,some ,remarks on the ,tragedy of ,hamlet 7#agcf74 7,,iii1 #c7 #aj4 ,corbyn ,morris' ,essay towards ,fixing the ,true ,standards of ,wit1 etc4 7#agdd74 7,i1 #d7 #aa4 ,thomas ,purney's ,discourse on the ,pastoral 7#agag74 7,,ii1 #d7 #ab4 ,essays on the ,stage1 selected1 with an ,introduction by ,joseph ,wood ,krutch4 7,,iii1 #d7 ,third ,year 7#aidh-aidi7 #ac4 ,sir ,john ,falstaff 7pseud471 ,the ,theatre 7#agbj74 7,,iv1 #a7 #ad ,edward ,moore's ,the ,gamester 7#agec74 7,v1 #a7 #ae4 ,john ,oldmixon's ,reflections on ,dr4 ,swift's ,letter to ,harley 7#agab72 and ,arthur ,mainwaring's ,the ,british ,academy 7#agab74 7,,vi1 #a7 #af4 ,nevil ,payne's ,fatal ,jealousy 7#afgc74 7,v1 #b7 #ag4 ,nicholas ,rowe's ,some ,account of the ,life of ,mr4 ,william ,shakespear 7#agji74 7,extra ,series1 #a7 #ah4 ,aaron ,hill's ,preface to ,the ,creation2 and ,thomas ,brereton's ,preface to ,esther4 7,,iv1 #b7 99 99 99 99 99 ,transcriber's ,notes3 ,on p4 #bc1 a letter was missing in one of the words2 it was changed as follows3 ,from3 when they are orn down and laughed at4 ,to3 when they are torn down and laughed at4 ,on p4 #ce1 footnote #bd1 removed the repeated word is3 ,from3 from which this phrase is is quoted ,to3 from which this phrase is quoted