What powers of voice to grace the mimic scene?Īs creeping ivy kills the strangled tree, What scenic virtues bring I to the stage? Now, why thus humbled in the frost of age? I might have won the crowd, and pleased their lord? When with such aid as youth and strength afford, To tear the wreath of honour from my brow, If ’twas thy pleasure in thy changeful mood, Twice thirty years without a blemish spent,įorth from my home this morn a knight I went,įortune - still wayward both in bad and good, Whose every wish the gods themselves fulfil? One honied speech from Cæsar’s tongue was all įor how might I resist his sovereign will,
Now when life’s pulse is ebbing to its end!įear, force, nor influence of the grave and great,Ĭould move, when youthful, from my place of pride Many would stem, but few can find the way - I am an English teacher in Mexico with many interests in languages, translation and culture. * See Dunlop’s History of Roman Literature, vol. The titles, and a few fragments, of his Mimes are still extant but, excepting the prologue, these remains are too inconsiderable and detached for us to judge either of their subject or their merits. Retiring form Rome, he died at Puteoli, about ten months after the assassination of Cæsar. Laberius did not long survive his mortification. It was the same policy which afterwards led him, and his successors in the empire, to convert their senators into gladiators and buffoons, and to encourage men of the noblest families, their Fabii and Mamerci, to caper about the stage, barefooted and smeared with soot, for the amusement of the rabble. HI sole object was to degrade the Roman knighthood, to subdue their spirit of independence and honour, and to strike the people with a sense of his unlimited sway. Examples translated by humans: necesito, i need to, espero que vengas. It as not merely to entertain the people, who, (as it ahs been justly observed,) would have been as well amused with the representation of any other actor, nor to wound the private feelings of Laberius, that Cæsar forced him on the stage. Contextual translation of 'edere necesse est' from Latin into Spanish. In one of the scenes he personated a Syrian slave, and, whilst escaping form the lash of his master, exclaimed - “Porro, Quriites, libertatem perdidimus ” and shortly after added - “Necesse est multos timeat, quem multi timent ” at which the eyes of the whole audience were instantly turned towards Cæsar, who was present in the theatre. Though acquitting himself with grace and spirit as an actor, he could not refrain from expressing his detestation of the tyranny which had made him such. LABERIUS A ROMAN knight f respectable family and character, and a composer of Mimes but chiefly kown to posterity by a prologue which he wrote and spoke, on being compelled by Julius Cæsar to appear upon the stage. of Christ-church, Oxford Philadelphia: Carey and Hart 1847 p. _ From Specimens of the Poets and Poetry of Greece and Rome by Various Translators, edited by William Peter, A. To secure this the two sentences require emendation as follows: Est interdum praestare mercaturis rem quaerere, ni tam periculosum si t et item fenerari, si tam honestum si t and Nunc ut ad rem redeam, quo d prom(p)si institutum, principium hoc erit. 'Backing mercantile enterprise with capital can sometimes be to make capital but is always risky, usury is less risky but is virtually as disreputable as theft, high praise has traditionally gone to the good farmer for his skill, the merchant is plucky and enterprising too but as indicated open to hazard besides, farming is praiseworthy for various purely moral and social reasons but the alpha and omega of all the professions I have cited (including farming properly undertaken) is to make capital earn capital'. This undermines the coherence, logic, and point of Cato's train of thought. (Laberius) Necessitas non habet legem - Necessity knows no law Negotium populo romano melius quam otium committi - The Roman people understand work better than leisure Nemine. (Horace) Necesse est multos timeat quem multi timent - He must fear many, whom many fear. It is argued that the first and last of the six sentences of this at once laconic and highly mannered piece are corrupt in the MSS tradition. Nec verbum verbo curabis reddere fidus interpres - As a true translator you will take care not to translate word for word. The discussion as a whole raises literary and philological questions concerning Cato's thought and style, focussing on a locus classicus, the preface to his De agri cultura. A MATTER OF SUBSTANCE: CATO'S PREFACE TO THE DE AGRI CULTURA A MATTER OF SUBSTANCE: CATO'S PREFACE TO THE DE AGRI CULTURA
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