The Fables of Phaedrus Part 12

PROLOGUE.

If I shall anywhere insert the name of aesop, to whom I have already rendered every {honor} that was his due, know that it is for the sake of {his} authority, just as some statuaries do in our day, who obtain a much greater price for their productions, if they inscribe the name of Praxiteles on their marbles, and Myron[1] on their polished silver.

{Therefore} let {these} Fables obtain a hearing. Carping envy more readily favours the works of antiquity than those of the present day.

But now I turn to a Fable, with a moral to the purpose.

[Footnote V.1: _And Myron_)--Ver. 7. Myron was a famous sculptor, statuary, and engraver, of Greece. He was a native of Eleutherae, in Botia, and according to Petronius Arbiter, died in extreme poverty.]

FABLE I.

DEMETRIUS AND MENANDER.

Demetrius,[2] who was called Phalereus, unjustly took possession of the sovereignty of Athens. The mob, according to their usual practice, rush from all quarters vying with each other, and cheer him, and wish him joy. Even the chief men kiss the hand by which they are oppressed, while they silently lament the sad vicissitudes of fortune. Moreover, those who live in retirement, and take their ease, come creeping in last of all, that their absence may not injure them. Among these Menander, famous[3] for his Comedies (which Demetrius, who did not know him, had read, and had admired the genius of the man), perfumed with unguents, and clad in a flowing robe, came with a mincing and languid step. As soon as the Tyrant caught sight of him at the end of the train: "What effeminate wretch," said he, "is this, who presumes to come into my presence?" Those near him made answer: "This is Menander the Poet."

Changed in an instant, he exclaimed: "A more agreeable looking man could not possibly exist."

[Footnote V.2: _Called Phalereus_)--Ver. 1. Demetrius Phalereus, the statesman, philosopher, and ruler of Athens, was so called from the Attic demus, or borough of Phalerus, where he was born. He died in exile in Egypt, according to some accounts, of the bite of a serpent. There seems no good reason for giving to his rule over the Athenians the epithet of "improb.u.m," found in the next line, although in the latter years of his government he gave himself up in a great measure to sensual pursuits.]

[Footnote V.3: _Menander, famous_)--Ver. 9. Menander, the inventor of the New Comedy. Some of the Comedies of Terence are Translations from his works.]

FABLE II.

THE TRAVELLERS AND THE ROBBER.

Two Soldiers having fallen in with a Robber, one fled, while the other stood his ground, and defended himself with a stout right-hand. The Robber slain, his cowardly companion comes running up, and draws his sword; then throwing back his travelling cloak,[4] says: "Let's have him;" "I'll take care he shall soon know whom he attacks." On this, he who had vanquished {the robber made answer}: "I wish you had seconded me just now at least with those words; I should have been still more emboldened, believing them true; now keep your sword quiet, as well as your silly tongue, that you may be able to deceive others who don't know you. I, who have experienced with what speed you take to your heels, know full well that no dependence is to be placed upon your valour."

This story may be applied to him who is courageous in prosperity, in times of danger takes to flight.

[Footnote V.4: _His travelling cloak_)--Ver. 5. The "paenula"

was a travelling-cloak made of leather or wool, with a hood attached to it, to cover the head.]

FABLE III.

THE BALD MAN AND THE FLY.

A Fly bit the bare pate of a Bald Man; who, endeavouring to crush it, gave himself a heavy blow. Then said the Fly jeeringly: "You wanted to revenge the sting of a tiny insect with death; what will you do to yourself, who have added insult to injury?" {The Man} made answer: "I am easily reconciled to myself, because I know that there was no intention of doing harm. But you, worthless insect, and one of a contemptible race, who take a delight in drinking human blood, I could wish to destroy you, even at a heavier penalty."

This Fable teaches that pardon is to be granted to him who errs through mistake. But him who is designedly mischievous, I deem to be deserving of {any} punishment.

FABLE IV.

THE MAN AND THE a.s.s.

A Man having sacrificed a young boar to the G.o.d Hercules, to whom he owed performance of a vow {made} for the preservation of his health, ordered the remains of the barley to be set for the a.s.s. But he refused {to touch it}, and said: "I would most willingly accept your food, if he who had been fed upon it had not had his throat cut."

Warned by the significance of this Fable, I have always been careful to avoid the gain that exposed to hazard. "But," say you, "those who have got riches by rapine, are {still} in possession of them." Come, then, let us enumerate those, who, being detected, have come to a bad end; you will find that those {so} punished const.i.tute a great majority.

Rashness brings luck to a few, misfortune to most.

FABLE V.

THE BUFFOON AND THE COUNTRYMAN.

Men are in the habit of erring through prejudice; and while they stand up in defence of their erroneous notions, {are wont} to be driven by plain facts to confession of their mistakes.

A rich Man, about to entertain the people with grand shows, invited all, by the promise of a reward, to exhibit whatever new piece of ingenuity any one could. The Performers came to the contest for fame, among whom a Buffoon, well known for his drollery, said that he had a kind of entertainment which had never yet been brought out at {any} theatre. The rumour, spreading, brought together the {whole} city; and the places, empty shortly before, sufficed not for the mult.i.tude. But as soon as he appeared on the stage, alone, {and} without any apparatus, any stage-a.s.sistants, the very intenseness of expectation produced silence.

Suddenly, he dropped down his head towards his bosom, and so well did he imitate the voice of a pig with his own, that they concluded there was a real one under his cloak, and ordered it to be shaken out. This being done, as soon as they found that nothing was discovered, they loaded the Man with many praises, and bestowed upon him the greatest applause.

A Countryman seeing this take place: "Egad," said he, "he shan't surpa.s.s me;" and immediately gave out that he would do the same thing still better on the following day. A still greater crowd a.s.sembled. Prejudice had already taken possession of their minds, and they took their seats, determined to deride, and not as {unbia.s.sed} spectators. Both Performers come forth. First, the Buffoon grunts away, and excites their applause, and awakens their acclamations. Next, the Countryman, pretending that he concealed a pig beneath his clothes (which, in fact, he did; but quite unsuspected, because they had found none about the other), twitched the ear of the real {pig}, which he was concealing, and with the pain forced from it its natural cry. The people shouted with one voice that the Buffoon had given a much more exact imitation, and ordered the Countryman to be driven from the stage. On this, he produced the pig itself from the folds of his cloak, and convicting them of their disgraceful mistake by a manifest proof: "Look," said {he}, "this shows what sort of judges you are."

FABLE VI.

THE TWO BALD MEN.

A Bald Man chanced to find a comb in the public road. Another, equally dest.i.tute of hair, came up: "Come," said he, "shares, whatever it is you have found." The other showed the booty, and added withal: "The will of the G.o.ds has favoured us, but through the malignity of fate, we have found, as the saying is, a coal instead of a treasure."

This complaint befits him whom hope has disappointed.

FABLE VII.

PRINCEPS, THE FLUTE-PLAYER.

When a weak mind, beguiled by frivolous applause, has once given way to insolent self-sufficiency, {such} foolish vanity is easily exposed to ridicule.

Princeps, the Flute-player, was pretty well known, being accustomed to accompany Bathyllus[5] with his music on the stage. It chanced that, at a representation, I don't well remember what it was, while the flying-machine[6] was being whirled along, he fell heavily, through inadvertence, and broke his left leg, when he would much rather have parted with two right ones.[7] He was picked up and carried to his house groaning aloud. Some months pa.s.s by before his cure is completed. As is the way with the spectators, for {they are} a merry race, the man began to be missed, by whose blasts the vigour of the dancer was wont to be kept at full stretch.

A certain n.o.bleman was about to exhibit a show, just when Princeps was beginning to walk abroad. With a present {and} entreaties he prevailed upon him merely to present himself on the day of the show. When the day came a rumour about the Flute-player ran through the theatre. Some affirmed that he was dead, some that he would appear before them without delay. The curtain falling,[8] the thunders rolled,[9] and the G.o.ds conversed in the usual form. At this moment the Chorus struck up a song unknown to him who had so recently returned; of which the burthen was this: "Rejoice, Rome, in security, for your prince [{Princeps}] is well." All rise with one consent and applaud. The Flute-player kisses hands, {and} imagines that his friends are congratulating him. The Equestrian order perceive the ridiculous mistake, and with loud laughter encore the song. It is repeated. My man {now} throws himself {sprawling} at full length upon the stage.[10] Ridiculing him, the Knights applaud; while the people fancy he is {only} asking for a chaplet. When, however, the reality came to be known throughout all the tiers, Princeps, his leg bound up with a snow-white fillet, clad in snow-white tunic, {and} snow-white shoes,[11] while pluming himself on the honors really paid to the Deified House,[12] was thrust out headlong by common consent.

[Footnote V.5: _Accompany Bathyllus_)--Ver. 5. He alludes to Bathyllus, the favourite and freedman of Mecaenas, and who brought to perfection pantomimic dancing at Rome.]

[Footnote V.6: _Flying-machine_)--Ver. 7. The "pegma" was a piece of machinery used on the stage for the purpose of aiding the ascents and descents of the G.o.ds there represented.]

[Footnote V.7: _Losing two right ones_)--Ver. 9. The Poet puns on the twofold meanings of the word "tibia," which signifies the main bone of the leg, and a pipe or flute. These pipes were right-handed or left-handed, probably varying in tone, two being played at a time. Explained at length, the pun means, "Princeps broke his left leg, when he could have better afforded to break two right-handed pipes."]

[Footnote V.8: _The curtain falling_)--Ver. 23. The "aulaeum,"

or stage-curtain, called also "siparium," was a piece of tapestry stretched on a frame, which, rising before the stage, concealed it till the actors appeared. Instead of drawing up this curtain to discover the stage and actors, according to the present practice, it was depressed when the play began, and fell beneath the level of the stage: whence "aulaea premuntur" or "mittuntur," "the curtain is dropped," meant that the play had began.]

[Footnote V.9: _The thunders rolled_)--Ver. 23. This thunder was made by the noise of rolling stones in copper vessels.]

[Footnote V.10: _Upon the stage_)--Ver. 32. The "pulpitum" was properly an elevated place on the proscenium, or s.p.a.ce between the scene and the orchestra.]

[Footnote V.11: _Snow-white shoes_)--Ver. 37. We learn from Ovid and other authors that white shoes were solely worn by the female s.e.x.]

[Footnote V.12: _To the Deified house_)--Ver. 38. Taking to himself the honor that belonged to the house of Augustus, which was wors.h.i.+pped with Divine honors.]