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Link to an image of this page  Link to an image of this page  [R1v f116v]

EMBLEMA CLXXXVII [=186] .

In occasionem.

Opportunity.

Διαλογιστικῶς

In dialogue form.

Iysippi[1] hoc opus est, Sycion[2] cui patria. Tu, quis?[3]
Cuncta domans capti temporis articulus:
Cur pennis[4] stas? usque rotor. Talaria plantis
Cui [=Cur] retines? Passim me levis aura rapit.
In dextra est tenuis dic unde novacula? Acutum
Omni acie hoc signum me magis esse docet.
Cur in fronte coma? Occurrens ut prendar. At heus tu
Dic cur pars calva est posterior capitis?
Ne [=Me] semel alipedem si quis permittat abire,
Ne possim apprehenso postmodo crine capi.
Link to an image of this page  Link to an image of this page  [R2r f117r]Tali opifex nos arte, tui causa, edidit hospes:
Utque omnes moneam: pergula aperta tenet.

This image is the work of Lysippus, whose home was Sicyon. - Who are you? - I am the moment of seized opportunity that governs all. - Why do you stand on points? - I am always whirling about. - Why do you have winged sandals on your feet? - The fickle breeze bears me in all directions. - Tell us, what is the reason for the sharp razor in your right hand? - This sign indicates that I am keener than any cutting edge. - Why is there a lock of hair on your brow? - So that I may be seized as I run towards you. - But come, tell us now, why ever is the back of your head bald? - So that if any person once lets me depart on my winged feet, I may not thereafter be caught by having my hair seized. It was for your sake, stranger, that the craftsman produced me with such art, and, so that I should warn all, it is an open portico that holds me.

Das CLXXXVII [=186] .

Die Gelegenheit.

Diß Bild hat der Meister erdacht
Iysipp von Sycion und gmacht
Wer bistu aber mir das sag?
Die Gelegenheit der zeit on zag.
Warumb stehst auffs Rads Felgen rund?
Weil ich alles verker zur stund.
Was thun dFlügel an Füssen dein?
Dmit ich belder von hin köndt seyn.
Link to an image of this page  Link to an image of this page  [R2v f117v] Warumb helst in der rechten Hand
Ein scharpffen Scharsach one band?
Damit gib ich zuverstehn ja
Das ich scherpffer sey dann diß da.
Was thust an der Stirn mit dem Har?
Das man mich kommend greiffe zwar.
Warumb ist aber hinden sGnick
So kal? Und hast kein Haar zu rück?
So einer mich last also schnell
Wegfahren, und ficht nicht auff hell
Derselbs kan nachmal mich nit mehr
Greiffen und zu rück ziehen her.
Also hat der Meister kunstrich
Gemacht und außgestrichen mich
Damit ich jederman verman
So thu ich auff den Felgen stan.

Notes:

1.  Greek sculptor, 4th century BC.

2.  A town west of Corinth.

3.  This is a translation of Anthologia graeca 16.275. See also Erasmus, Adagia 670, Nosce tempus, where Erasmus too gives a verse translation of the Greek epigram.

4.  ‘on points’. Alciato here agrees with Erasmus, who similarly translates the phrase ep’ akra, ‘on tiptoe’, in the Greek original. Thomas More translates more obviously with summis digitis. See Selecta epigrammata (Cornarius, ed.) p. 372ff.


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Link to an image of this page  Link to an image of this page  [E5v]

REMEDIA IN ARDUO MALA.
in prono esse.

Remedies are hard, damage is easy

Link to an image of this page  Link to an image of this page  [E6r]

Aetheriis postquam deiecit sedibus Aten,
Iupiter[1] heu vexat quàm mala noxa viros.
Evolat haec pedibus celer & pernicibus alis,
Intactumque nihil casibus esse sinit.
Ergo litae proles Iovis hanc comitantur euntem,[2]
Sarcturae quicquid fecerit illa mali.
Sed quia segnipedes strabae[3] lassaeque senecta,
Nil nisi post longo tempore restituunt.[4]

Once Jupiter had cast Ate down from the heavenly abode, what an evil bane thereafter assailed poor man! Ate flies out fleet of foot with fast-beating wing and leaves nothing untouched by mishap. So Jove’s daughters, the Litae, accompany her as she goes, to mend whatever ill she has brought about. But they are slow-footed, poor of sight and weary with age, and so they restore nothing until later, after long passage of time.

Notes:

1.  ‘Jupiter had cast Ate down’. See Homer, Iliad 19. 125ff.

2.  ‘the Litae accompany her’. See Homer, Iliad 9.502ff. Ate means ‘Mischief’, Litae, ‘Prayers’. Ate was cast out of Olympus to bring harm to mankind, a personification of humans being led astray. The Litae were a personification of prayers offered in repentance.

3.  Textual variant: luscae.

4.  The woodcut is puzzling. Possibly the monster is supposed to represent Ate; in later editions she appears as a harpy-like figure. The Litae feature, in later editions, as old women. The old man presumably represents the suffering of mankind.


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  • walking - AA - female human figure [31AA2711] Search | Browse Iconclass
  • Slow Motion (+ emblematical representation of concept) [51MM1(+4)] Search | Browse Iconclass
  • Viciousness, Naughtiness (+ emblematical representation of concept) [57AA6(+4):54D4(+4)] Search | Browse Iconclass
  • Revenge, Requital, Retaliation; 'Vendetta' (Ripa) (+ emblematical representation of concept) [57AA741(+4):54DD4(+4)] Search | Browse Iconclass
  • Jupiter seizes Ate by her hair and hurls her down from Olympus, possibly because of the delayed birth of Hercules (+ variant) [92B143(+0)] Search | Browse Iconclass
  • other lesser deities of Heaven ~ destiny, fate, adversity: Litae [92G7(LITAE)] Search | Browse Iconclass

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