So you could say this man truly had his throat slit by his own sword


Erasmus Adagia 51. I’m giving the full Latin at bottom but only translating the beginning and end.

‘Having your throat cut by your own sword or weapon’ is said of someone who is beaten by his own words or captured by his own stratagem or trick…. [Following examples of the metaphor, Erasmus concludes by mentioning that] Trebellius Pollio tells of Marius, one of the thirty tyrants, who was slain by a soldier who told him “here is the sword you yourself made.” For Marius had been a blacksmith before getting power and had employed this soldier in his workshop. So you could say this man truly had his throat slit by his own sword.

SVO SIBI HVNC IVGVLO GLADIO, SVO TELO51


530




535
  c536-539



540




545




550

LB 49


555



Suo gladio suoue telo iugulari dicitur, qui suis ipsius dictis reuincitur aut qui
suopte inuento doloue capitur, denique in quem quocunque modo seu dictum
seu factum retorquetur, quod ab ipso profectum sit, veluti si quis exemplo
Protagorae antistrephon dilemma in eum, qui proposuerit, retorqueat aut si
quemadmodum Phalaris Perillum mali repertorem suo inuento conficiat.
Itaque in Adelphis Terentii Mitio senex fratris Demeae saeuitiam increpans
huiusmodi vtitur sententiaHoc vnum affert vitii senecta, attentiores ad rem sumus
quam oportet. Eandem Demea paulo post in fratrem retorquens,
 Postremo, inquit, non meum illud verbum facio, quod tu, Mitio,
 Bene et sapienter dixti dudum. Vitium commune omnium est,
 Quod nimium ad rem in senecta attenti sumus. Hanc maculam nos decet
 Effugere.
Hac ratione cum Mitio constringeretur adigereturque, vt agrum, quem
rogabatur, daret, turti Demea Suo, inquitsibi hunc iugulo gladio. Translata
metaphora ab his, qui in pugna suis ipsorum telis aliquoties confodiuntur.167
Plautus in Amphitryone:
 Atque hunc telo suo sibi, malitia sua, a foribus pellere.
Cicero pro Cecinna: Aut tuo, quemadmodum dicitur, gladio aut nostro defensio tua
conficiatur necesse est.
 Huc allusit Ouidius in Epistolis Heroidum:
 Remigiumque dedi, quo me fugiturus abires;
     Heu, patior telis vulnera facta meis.

Eodem pertinent et illa CiceronisIn tuum ipse mucronem incurras, necesse est.
RursumHic est defensionis tuae mucro; in eum incurrat oratio tua necesse est. Neque
vehementer hinc abludit Liuianum illud [Glibro ii. de secundo bello Punico:
[ASentiebat Hannibal suis | se artibus peti. Lucianus in Piscatoribus: Ὡς παρ᾽168
ἡμῶν τὰ τοξεύματα, ὡς φής, λαβὼν καθ᾽ ἡμῶν ἐτόξευες, id est Quae quidem tela
a nobis, vti fateris, sumpta aduersus nos iaculatus es. [B] Tradit Plutarchus Brasidam
ducem educto e corpore telo eodem confodisse eum, qui miserat. [C] Marius
vnus e triginta tyrannis a milite quodam interemptus narratur a Trebellio
Pollione, qui adoriens dixerit: Hic est gladius, quem ipse fecisti; nam Marius ante
imperium faber ferrarius fuerat et eius militis opera in fabrili officina vsus.
Hunc igitur vere suo gladio dixeris iugulatum.

Will return when your things are genuine

I’ve been greatly enjoying the new Lupin series adaptation for the past few days and am going back now to the original stories. As good as the show is overall, the one misstep for me is their opting to pursue personal tragedy/drama in favor of the pure flight-of-fancy flair of the original tales. I know it is unacceptably childish now to have a character without flaws and scars but that requirement of modern taste is precisely why keeping to the spirit of the original would’ve been a bolder choice than the route they took. As example, here are two tone-setting passages from the first story – The Arrest of Arsène Lupin (given in translation because that’s how my childhood edition was).

Arsène Lupin, the fastidious gentleman who confines his operations to country-houses and fashionable drawing-rooms, and who one night, after breaking in at Baron Schormann’s, had gone away empty-handed, leaving his visiting-card:

ARSÈNE LUPIN
Gentleman-Burglar

with these words added in pencil:

“Will return when your things are genuine.”

and a bit later:

All this was very wonderful, and pointed clearly to the humorous handiwork of a burglar, if you like, but an artist besides. He worked at his profession for a living, but also for his amusement. He gave the impression of a dramatist who thoroughly enjoys his own plays and who stands in the wings laughing heartily at the comic dialogue and diverting situations which he himself has invented.

…who made “learning by suffering” into an effective law

From Proust’s Le temps retrouvé (pg 284 in v.4 of the Pleiade edition, translation from the Modern Library updated Moncrieff):

What is odd, though I cannot here enlarge upon the topic, is the degree to which, at that time, all the people whom Albertine loved, all those who might have been able to persuade her to do what they wanted, asked, entreated, I will even say begged to be allowed to have, if not my friendship, at least some sort of acquaintance with me. No longer should I have had to offer money to Mme Bontemps as an inducement to send Albertine back to me. But this turn of fortune’s wheel, taking place when it was no longer of the slightest use, merely saddened me profoundly, not because of Albertine, whom I would have received without pleasure had she been brought back not from Touraine but from the other world, but because of a young woman with whom I was in love and whom I could not contrive to meet. I told myself that, if she died, or if I no longer loved her, all those who might have brought us together would suddenly be at my feet. Meanwhile, I tried in vain to work upon them, not having been cured by experience, which ought to have taught me—if ever it taught anybody anything—that loving is like an evil spell in a fairy-story against which one is powerless until the enchantment has passed.

Ce qui est curieux et ce sur quoi je ne puis m’étendre, c’est à quel point, vers cette époque-là, toutes les personnes qu’avait aimées Albertine, toutes celles qui auraient pu lui faire faire ce qu’elles auraient voulu, demandèrent, implorèrent, j’oserai dire mendièrent, à défaut de mon amitié, quelques relations avec moi. Il n’y aurait plus eu besoin d’offrir de l’argent à Mme Bontemps pour qu’elle me renvoyât Albertine. Ce retour de la vie, se produisant quand il ne servait plus à rien, m’attristait profondément, non à cause d’Albertine, que j’eusse reçue sans plaisir si elle m’eût été ramenée, non plus de Touraine mais de l’autre monde, mais à cause d’une jeune femme que j’aimais et que je ne pouvais arriver à voir. Je me disais que si elle mourait, ou si je ne l’aimais plus, tous ceux qui eussent pu me rapprocher d’elle tomberaient à mes pieds. En attendant, j’essayais en vain d’agir sur eux, n’étant pas guéri par l’expérience, qui aurait dû m’apprendre–si elle apprenait jamais rien–qu’aimer est un mauvais sort comme ceux qu’il y a dans les contes contre quoi on ne peut rien jusqu’à ce que l’enchantement ait cessé.

The above is no exceptional passage but a sample of why I incline to reading into Proust a 3000 page expansion of vanitas vanitatum, omnia vanitas that builds on the guiding principle from the Hymn to Zeus in Aeschylus’ Agamemnon (160-180):

[Zeus] who set mortals on the road
to understanding, who made
“learning by suffering” into an effective law.
There drips before the heart, instead of sleep,
the misery of pain recalled: good sense comes to men
even against their will.

τὸν φρονεῖν βροτοὺς ὁδώ-
σαντα, τὸν “πάθει μάθος”
θέντα κυρίως ἔχειν.
στάζει δ᾿ ἀνθ᾿ ὕπνου πρὸ καρδίας
μνησιπήμων πόνος· καὶ παρ᾿ ἅ-
κοντας ἦλθε σωφρονεῖν.

It is a busy idleness that is our bane

From Horace Epistles 1.11.25-29 in the Loeb edition. The middle line (caelum … currunt) is the famous one but I like the Huxleyan strenua nos exercet inertia better:

For if it is reason and wisdom that take away cares, and not a site commanding a wide expanse of sea, they change their clime, not their mind, who rush across the sea. It is a busy idleness that is our bane; with yachts and cars we seek to make life happy.

nam si ratio et prudentia curas,
non locus effusi late maris arbiter aufert,
caelum, non animum, mutant, qui trans mare currunt.
strenua nos exercet inertia: navibus atque
quadrigis petimus bene vivere.

‘Yachts and cars’ (for a literal ‘boats and chariots’) shows the translation’s age (1926) – but also how much closer to Horace life still was 100 years ago. Modernizing to ‘streaming and twitter’ is grotesque to ponder.

What care I whether the divell himselfe redeem me?

From Robert Burton’s The Anatomy of Melancholy (Part 2, Sec 1, Memb. 1, Subs. 1), on Unlawfull Cures of Melancholy (to be rejected, of course):

It matters not, saith Paracelsus, whether it bee God or the Divell, Angells or uncleane spirits cure him, so that he be eased. If a man fall into a ditch, as he prosequutes it, what matter is it whether a friend or an enimy helpe him out, and if I be troubled with such a malady, what care I whether the divell himselfe, or any of his ministers by Gods permission redeem me?

applied these days to Mitch McConnell.

Their language compels them to live a libretto

From last week’s Time Literary Supplement, which I finally take at home now that I’m so spottily able to get my work copy. The article ‘Il trend’ for finglese is an interesting optimism piece on Italian stopping its constant borrowing of English words into the comical ‘il road map’ structure. Now I love Italian and hope it will stop this nonsense but I love a witty jab even more so here’s a description of Italian the piece cites:

In The Sabre Squadron (1966), the third volume of his Alms for Oblivion sequence, Simon Raven was mean about Italian: “A degenerate tongue … its constant juxtaposition of the diminutive with the grandiose transposes everything … to the same level of trivial hysteria. No wonder the Italians are at once so conceited and so futile; their language compels them to live a libretto.”

I have forgotten the word I wanted to say

From The Selected Poems of Osip Mandelstam (NYRB edition, poem 113)

I have forgotten the word I wanted to say.
A blind swallow returns to the palace of shadows
on clipped wings to flicker among the Transparent Ones.
In oblivion they are singing the night song.

No sound from the birds. No flowers on the imortelles.
The horses of night have transparent manes.
A little boat drifts on the dry river.
Among the crickets the word fades into oblivion.

And it rises slowly like a pavilion or a temple,
performs the madness of Antigone,
or falls at one’s feet, a dead swallow,
with Stygian tenderness and a green branch.

Oh to bring back also the shyness of clairvoyant
fingers, the swelling joy of recognition.
I shrink from the wild grieving of the Muses,
from the mists, the ringing, the opening void.

It is given to mortals to love, to recognize,
to make sounds move to their fingers,
but I have forgotten what I wanted to say
and a bodiless thought returns to the palace of shadows.

The Transparent One still speaks, but of nothing.
Still a swallow, a friend known as a girl, Antigone.
The reverberations of Stygian remembrance
bur like black ice on one’s lips.

Fraus vobis! – Tibi leccatori!

From poem 215 in the Carmina BuranaIncipit Officium Lusorum (The Gamblers’ Mass) – in the David Traill Dumbarton Oaks edition. The piece is a step by step debasing parody of an actual mass. I’m only including portions but the full Latin text can be found here (though in a text that preserves more medievalisms – e for ae, etc. – than the Dumbarton edition).

2. Fraus vobis! – Tibi leccatori!

2. Chicanery be with you! – And with you, you scrounger!

4. Epistola: Lectio actuum apopholorum. In diebbus illis multitudini ludentium erat cor unum et tunica nulla, et hiems erat, et iactabant vestimenta secud pedes accomodantis, qui vocabatur Landrus. Landrus autem erat plenus pecunia et fenore et faciebat damna magna in loculis accommodans singulis, prout cuiusque vestimenta valebant.

4. Epistle: The reading is from the Acts of the Apofools. In those days a multitude of players were of one mind but had no tunic and it was winter. And they tossed their clothes at the feet of the moneylender, who was called Landrus. Landrus had plenty of money and charged high interest and caused great losses in individuals’ purses, as he lent them money according to the value of each person’s clothing.

8. Evangelium: Sequentia falsi evangelii secundum marcam argenti. Fraus tibi Decie! Cum sero esset una gens lusorum, venit Decius in medio eorum et dixit: «Fraus vobis! Nolite cessare ludere. Pro dolore enim vestro missus sum ad vos.» Primas autem, qui dicitur Vilissimus, non erat cum eis, quando venit Decius. Dixerunt autem alii discipuli: «Vidimus Decium.» Qui dixit eis: «Nisi mittam os meum in locum peccarii, ut bibam, non credam.» Primas autem, qui dicitur Vilissimus, iactabat decem, alius duodecim, tertius vero quinque. Et qui quinque proiecerat, exhausit bursam et nudus ab aliis se abscondit.

8. The Gospel: the text of the false gospel according the Mark of Silver: Chicanery be with you, Decius! When a group of players had gathered on evening, Decius came among them and said: “Chicanery be with you! Don’t stop playing! I have been sent to you because of your pain.” Primas, who is called “the ugliest,” was not with them when Decius came. The other disciples said to him: “We have seen Decius.” He said to them: “Unless I put my mouth to the goblet to drink, I will not believe it.” Primas, who is called “the ugliest,” threw a ten, another threw a twelve, and a third a five. The man who had thrown a five emptied his purse and, naked, hid himself from the others.

Some notes:

2. Fraus vobis parodies Pax vobis (peace be with you, Luke 24:36), the standard greeting at the beginning of mass.

4. The whole section parodies Acts 4:32-35. The word translated as Apofools – apopholorum – puns on apostolorum by substituting a different root.

8. This section parodies Jesus’ coming to his disciples after his resurrection and Primas’ response parodies that of the doubting Thomas.

The Procurator of Judea

This is a short tale by Anatole France from his 1892 collection L’Etui de nacre (Mother of Pearl). The full French text can be found here and an English translation here. The extract I’d have opted for feels both too much a spoiler and too insignificant when pulled from context – since the artistry of the tale is very much in its continued denial, a sort of variant on the Holmesian curious incident of the dog in the nighttime.

And in passing – I don’t have access to it right now but there’s an Italian translation with a preface by Leonardo Sciascia that is surely worth reading.