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Link to an image of this page  Link to an image of this page  [m7v p190]

Sirenes.

Sirens

IIII.

Absque alis volucres, & cruribus absque puellas,
Rostro absque & pisces, qui tamen ore canant,
Quis putet esse ullos? iungi haec natura negavit
Sirenes, fieri sed potuisse docent.[1]
Illicium est mulier, quae in piscem desinit atrum,[2]
Plurima quòd secum monstra libido vehit.
Aspectu, verbis, animi candore, trahuntur,
Parthenope Ligia Leucosiaque[3] viri.
Has musae explumant,[4] has atque illudit Ulysses,[5]
Scilicet est doctis cum meretrice nihil.

Birds without wings, girls without legs, fish without snouts, yet singing with their mouths - who would think such creatures exist? Nature said such things could not be combined, but the Sirens show that it could happen. Woman is an enticement, and she ends in a black fish, because lust brings many monstrous things in its train. By looks, by words, by radiant charm, men are drawn on, by Parthenope, by Ligeia and by Leucosia. These the Muses strip of their feathers, these Ulysses also dupes. The wise of course have no truck with a whore.

Notes:

1.  The Sirens, creatures that lured passing sailors to destruction with their entrancing song, are described in Ovid, Metamorphoses, 5.552ff. as having the faces of girls and the wings and feet of birds. The fish-tail seems to be added from the description of Scylla, Vergil, Aeneid, 3.427. The ‘woman ending in a black fish’ echoes Horace, Ars Poetica, ‘ut...atrum desinat in piscem mulier’, indicating an incongruous juxtaposition.

2.  Variant reading, Illicitum est, ‘That which is forbidden’.

3.  Various names for the Sirens are recorded. The ones given here mean ‘Maidenface’, ‘Sweet sounding’, ‘Bright’. The Sirens represent snares and temptation.

4.  The Sirens were defeated in a contest with the Muses and stripped of their wings. See Pausanias, Periegesis, 9.34.2. The Muses represent learning.

5.  See Homer, Odyssey, 12.39ff. and 165ff. for Ulysses’ escape from the Sirens. After this the Sirens killed themselves. Ulysses becomes the type of the wise man who escapes temptation through self-control.


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    Link to an image of this page  Link to an image of this page  [m8r p191]

    Gratiae.

    The Graces

    VI.

    Tres Charites Veneri assistunt, dominamque sequuntur.
    Hincque voluptates, atque alimenta parant.
    Laetitiam Euphrosyne, speciosum Aglaia nitorem.
    Suadela est Pithus, blandus & ore lepos.[1]
    Cur nudae? mentis quoniam candore venustas
    Constat, & eximia simplicitate placet.
    An quia nihil referunt ingrati atque arcula inanis,[2]
    Est Charitum? qui dat munera, nudus eget.
    Addita cur nuper pedibus talaria? bis dat
    Qui cito dat,[3] minimi gratia tarda pretii est.
    Implicitis ulnis cur vertitur altera? gratus
    Foenerat, huic remanent una abeunte duae.[4]
    Iuppiter iis genitor, coeli de semine divas
    Omnibus acceptas edidit Eurynome.

    The three Graces are attendant on Venus and follow their mistress. So they provide pleasures and pleasure’s nourishment. Euphrosyne brings gladness, Aglaia bright beauty; persuasion belongs to Peitho with winsome charm in speech. Why are they naked? Because loveliness consists in innocence of mind and commends itself by great simplicity. Or is it because the ungrateful make no return and the Graces’ treasure-chest is empty? He who gives gifts is stripped and needy. Why are there wings newly fastened to their feet? He gives twice who gives quickly. A favour granted late is of little value. Why does the second one link arms but turn her back to us? The man who shows gratitude gets more than he lays out; as one goes, two remain for him. Jupiter was their begetter; and Eurynome bore them, the divine offspring of the heavenly seed, goddesses loved by all mankind.

    Notes:

    1.  The Latin words laetitia (gladness), nitor (beauty) and suadela (persuasion) are translations of the Greek names of the Graces, Euphrosyne, Aglaia and Peitho.

    2.  arcula inanis, ‘treasure-chest is empty’. See Erasmus, Adagia, 1812 (Simonidis cantilenae).

    3.  bis dat / Qui cito dat ‘He gives twice who gives quickly’. See Erasmus, Adagia, 791 (Bis dat qui cito dat).

    4.  Lines 9-12 express common sentiments, found e.g. in Seneca, De Beneficiis, passim. For the Graces especially, see Ibid., 1.3-4. See also Erasmus, Adagia, 1650 (Nudae Gratiae), where Erasmus associates the Graces with both friendship and ingratitude.


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