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EMBLEMA CLXXXIIII [=183] .

Ex damno alterius alterius utilitas.

One man’s loss is another man’s gain

Dum saevis ruerent in mutua vulnera telis
Ungue leaena ferox, dente timendus aper,
Accurrit vultur spectatum, & prandia captat,
Gloria victoris, praeda futura sua est.[1]

While a lioness, vicious in claw, and a boar, fearsome for its tusks, were setting upon each other, inflicting mutual wounds with their savage weapons, a vulture hurried up to watch, lurking in expectation of a meal. The victor’s glory will belong to the one that gets the spoil.

Das CLXXXIIII [=183] .

Auß eines andern schaden eines an-
dern nutz.

Als gegn einander fielen ein
Die groß Löwin unds hauwend Schwein
Link to an image of this page  Link to an image of this page  [Q8v f115v] Und hauwen einander wunden tieff
Mit irem Gwer und scharpffen grieff
Der Geyr macht sich dar und schaut auff
Das im sein theil ja nicht entlauff
Die ehr der Sigent bringt davon
Der raub aber thut im zustohn.

Notes:

1.  Cf. Aesop 200 and 203.


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    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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