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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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Link to an image of this page  Link to an image of this page  [R2v f117v]

EMBLEMA CLXXXVIII [=187] .

Semper praesto esse infortunia.

Misfortune is always at hand

Ludebant parili tres olim aetate puellae
Sortibus: ad Stygias quae prior iret aquas.
Ast cui iactato male cesserat alea talo,
Ridebat sortis caeca puella suae:
Cum subitò icta caput labente est mortua tecto,
Solvit & audacis debita fata ioci.
Rebus in adversis mala sors non fallitur: ast in
Faustis nec precibus, nec locus est manui.[1]

Once three girls of the same age were amusing themselves, casting lots to see which of them would be the first to go to the waters of the Styx. When the dice were cast, the throw fell out unluckily for one of them, but she laughed with blind contempt at the fate predicted for her. Then suddenly she died, struck on the head as the roof fell in, and so paid the fated penalty for her bold mockery. In misfortune, a bad omen cannot be eluded, but even in prosperity neither prayers nor action have any place.

Link to an image of this page  Link to an image of this page  [R3r f118r]

Das CLXXXVIII [=187] .

Unglück ist stäts vor der Thür.

Mit einander der Gspilen drey
Gleich alt auff ein zeit spielten frey
Und wurffens loß welch under in
Solt vor der ander ziehen hin.
Das töricht Meidlin das im Spil
Warff daß sie solt zum ersten ans zil
Hielts für ein schertz darüber lacht
Vermeint nit daß es hett ein macht
Vom Dach aber ein Ziegel rot
Herunder fiel, traff sie zu todt
Wurd also auß dem schertz gar bhend
Ein ernst, also das Glück sich wend.
Link to an image of this page  Link to an image of this page  [R3v f118v] Daß das böß loß in bösem Glück
Betreugt nit es erzeigt ein tück
Im guten aber es treg ist
Gibt auff flehen noch trehnen nichts.

Notes:

1.  This is a translation of Anthologia graeca 9.158.


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  • (private) prayer; 'Oratione', 'Preghiere', 'Preghiere a Dio' (Ripa) [11Q2] Search | Browse Iconclass
  • Weakness, Powerlessness, Helplessness; 'Infermità' (Ripa) [54AA7] Search | Browse Iconclass
  • Luck, Fortune, Lot; 'Fato', 'Fortuna', 'Fortuna aurea', 'Fortuna buona', 'Fortuna pacifica overo clemente', 'Sorte' (Ripa) [54F12] Search | Browse Iconclass
  • Turn of Fate, Wheel of Fortune (+ emblematical representation of concept) [54F121(+4)] Search | Browse Iconclass
  • Adversity, Misfortune, Bad Luck; 'Fortuna infelice', 'Infortunio' (Ripa) (+ emblematical representation of concept) [54FF11(+4):51A4(+4)] Search | Browse Iconclass
  • Mortality, Extinction of Life [58BB1] Search | Browse Iconclass

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