Letter 114

Y ou have been asking me why, during certain periods, a degenerate style of speech comes to the fore, and how it is that men's wits have gone downhill into certain vices - in such a way that exposition at one time has taken on a kind of puffed-up strength, and at another has become mincing and modulated like the music of a concert piece. You wonder why sometimes bold ideas -bolder than one could believe - have been held in favour, and why at other times one meets with phrases that are disconnected and full of innuendo, into which one must read more meaning than was intended to meet the ear. Or why there have been epochs which maintained the right to a shameless use of metaphor.  For answer, here is a phrase which you are wont to notice in the popular speech - one which the Greeks have made into a proverb: "Man's speech is just like his life." Exactly as each individual man's actions seem to speak, so people's style of speaking often reproduces the general character of the time, if the morale of the public has relaxed and has given itself over to effeminacy . Wantonness in speech is proof of public luxury, if it is popular and fashionable, and not confined to one or two individual instances.  A man's ability cannot possibly be of one sort and his soul of another.  If his soul be wholesome, well-ordered, serious, and restrained  , his ability also is sound and sober.  Conversely, when the one degenerates, the other is also contaminated.  Do you not see that if a man's soul has become sluggish, his limbs drag and his feet move indolently? If it is womanish, that <Ep3-301> one can detect the effeminacy by his very gait?  That a keen and confident soul quickens the step?  That madness in the soul, or anger (which resembles madness), hastens our bodily movements from walking to rushing? And how much more do you think that this affects one's ability, which is entirely interwoven with the soul, - being moulded thereby, obeying its commands, and deriving therefrom its laws!  How Maecenas lived is too well- knownkor present comment.  We know how he walked, how effeminate he was, and how he desired to display himself; also, how unwilling he was that his vices should escape notice.  What, then?  Does not the looseness of his speech match his ungirt attire? Are his habits, his attendants, his house, his wife, any less clearly marked than his words? He would have been a man of great powers, had he set himself to his task by a straight path, had he not shrunk from making himself understood, had he not been so loose in his style of speech also.  You will therefore see that his eloquence was that of an intoxicated man - twisting, turning, unlimited in its slackness. What is more unbecoming than the words: "A stream and a bank covered with long-tressed woods"?  And see how "men plough the channel with boats and, turning up the shallows, leave gardens behind them." Or, "He curls his lady-locks, and bills and coos, and starts a- sighing, like a forest lord who offers prayers with down-bent neck." Or, "An unregenerate crew, they search out people at feasts, and assail households with the wine-cup, and, by hope, <Ep3-303> exact death." Or, "A Genius could hardly bear witness to his own festival"; or "threads of tiny tapers and crackling meal"; "mothers or wives clothing the hearth." C an you not at once imagine, on reading through these words, that this was the man who always paraded through the city with a flowing a tunic?  For even if he was discharging the absent emperor's duties, he was always in undress when they asked him for the countersign. Or that this was the man who, as judge on the bench, or as an orator, or at any public function, appeared with his cloak wrapped about his head, leaving only the ears exposed, like the millionaire's runaway slaves in the farce?  Or that this was the man who, at the very time when the state was embroiled in civil strife, when the city was in difficulties and under martial law, was attended in public by two eunuchs - both of them more men than himself?  Or that this was the man who had but one wife, and yet was married countless times? These words of his, put together so faultily, thrown off so carelessly, and arranged in such marked contrast to the usual practice, declare that the character of their writer was equally unusual, unsound, and eccentric.  To be sure, we bestow upon him the highest praise for his humanity; he was sparing with the sword and refrained from bloodshed; and he made a show of his power only in the course of his loose living; but he spoiled, by such preposterous finickiness of style, this genuine praise, which was his due.  For it is evident that he was not really gentle, but effeminate, as is proved by his misleading word-order, his inverted expressions, and the surprising thoughts which frequently contain something great, <Ep3-305> but in finding expression have become nerveless.  One would say that his head was turned by too great success. T his fault is due sometimes to the man, and sometimes to his epoch.  When prosperity has spread luxury far and wide, men begin by paying closer attention to their personal appearance. Then they go crazy over furniture.  Next, they devote attention to their houses - how to take up more space with them, as if they were country-houses, how to make the walls glitter with marble that has been imported over seas, how to adorn a roof with gold, so that it may match the brightness of the inlaid floors.  After that, they transfer their exquisite taste to the dinner-table, attempting to court approval by novelty and by departures from the customary order of dishes, so that the courses which we are accustomed to serve at the end of the meal may be served first, and so that the departing guests may partake of the kind of food which in former days was set before them on their arrival.  When the mind has acquired the habit of scorning the usual things of life, and regarding as mean that which was once customary, it begins to hunt for novelties in speech also; now it summons and displays obsolete and old-fashioned words; now it coins even unknown words or misshapes them; and now a bold and frequent metaphorical usage is made a special feature of style, according to the fashion which has just become prevalent. Some cut the thoughts short, hoping to make a good impression by leaving the meaning in doubt and causing the hearer to suspect his own lack of wit.  Some dwell upon them and lengthen them out.  Others, too, approach just short of a fault -for a man must <Ep3-307> really do this if he hopes to attain an imposing effect - but actually love the fault for its own sake.  In short, whenever you notice that a degenerate style pleases the critics, you may be sure that character also has deviated from the right standard. J ust as luxurious banquets and elaborate dress are indications of disease in the state, similarly a lax style, if it be popular, shows that the mind (which is the source of the word) has lost its balance.  Indeed you ought not to wonder that corrupt speech is welcomed not merely by the more squalid mob but also by our more cultured throng; for it is only in their dress and not in their judgments that they differ.  You may rather wonder that not only the effects of vices, but even vices themselves, meet with approval.  For it has ever been thus: no man's ability has ever been approved without something being pardoned. Show me any man, however famous; I can tell you what it was that his age forgave in him, and what it was that his age purposely overlooked. I can show you many men whose vices have caused them no harm, and not a few who have been even helped by these vices.  Yes, I will show you persons of the highest reputation, set up as models for our admiration; and yet if you seek to correct their errors, you destroy them; for vices are so intertwined with virtues that they drag the virtues along with them. Moreover, style has no fixed laws; it is changed by the usage of the people, never the same for any length of time.  Many orators hark back to earlier epochs for their vocabulary, speaking in the language of the Twelve Tables. Gracchus, Crassus, and Curio, in their eyes, are too refined and too modern; so back to Appius and Coruncanius! Conversely, certain men, in their endeavour to main- <Ep3-309> tain nothing but well-worn and common usages, fall into a humdrum style. These two classes, each in its own way, are degenerate; and it is no less degenerate to use no words except those which are conspicuous, high-sounding, and poetical, avoiding what is familiar and in ordinary usage.  One is, I believe, as faulty as the other: the one class are unreasonably elaborate, the other are unreasonably negligent; the former depilate the leg, the latter not even the armpit. L et us now turn to the arrangement of words. In this department, what countless varieties of fault I can show you! Some are all for abruptness and unevenness of style, purposely disarranging anything which seems to have a smooth flow of language.  They would have jolts in all their transitions; they regard as strong and manly whatever makes an uneven impression on the ear.  With some others it is not so much an "arrangement" of words as it is a setting to music; so wheedling and soft is their gliding style.  And what shall I say of that arrangement in which words are put off and, after being long waited for, just manage to come in at the end of a period?  Or again of that softly- concluding style, Cicero-fashion, with a gradual and gently poised descent always the same and always with the customary arrangement of the rhythm! Nor is the fault only in the style of the sentences, if they are either petty and childish, or debasing, with more daring than modesty should allow, or if they are flowery and cloying, or if they end in emptiness, accomplishing mere sound and nothing more. S ome individual makes these vices fashionable - some person who controls the eloquence of the day; the rest follow his lead and communicate the habit <Ep3-311> to each other.  Thus when Sallust was in his glory, phrases were lopped off, words came to a close unexpectedly, and obscure conciseness was equivalent to elegance.  L.  Arruntius, a man of rare simplicity, author of a historical work on the Punic War, was a member and a strong supporter of the Sallust school.  There is a phrase in Sallust: exercitum argento fecit, meaning thereby that he recruited an army by means of money.  Arruntius began to like this idea; he therefore inserted the verb facio all through his book.  Hence, in one passage, fugam nostris fecere; in another, Hiero, rex Syracusanorum, bellum fecit; and in another, quae audita Panhormitanos dedere Romanis fecere. I merely desired to give you a taste; his whole book is interwoven with such stuff as this. What Sallust reserved for occasional use, Arruntius makes into a frequent and almost continual habit - and there was a reason: for Sallust used the words as they occurred to his mind, while the other writer went afield in search of them.  So you see the results of copying another man's vices.  Again, Sallust said: aquis hiemantibus. Arruntius, in his first book on the Punic War, uses the words: repente hiemavit tempestas. And elsewhere, wishing to describe an exceptionally cold year, he says: lotus hiemavit annus. And in another passage: inde sexaginta onerarias leves praeter militem et necessarios nautarum hiemante aquilone misit; and he continues to bolster many passages with this metaphor. In a certain place, Sallust gives the words: inter arma civilia aequi bonique famas petit; and Arruntius cannot restrain himself from men <Ep3-313> tioning at once, in the first book, that there were extensive "reminders" concerning Regulus. T hese and similar faults, which imitation stamps upon one's style, are not necessarily indications of loose standards or of debased mind; for they are bound to be personal and peculiar to the writer, enabling one to judge thereby of a particular author's temperament; just as an angry man will talk in an angry way, an excitable man in a flurried way, and an effeminate man in a style that is soft and unresisting. You note this tendency in those who pluck out, or thin out, their beards, or who closely shear and shave the upper lip while preserving the rest of the hair and allowing it to grow, or in those who wear cloaks of outlandish colours, who wear transparent togas, and who never deign to do anything which will escape general notice; they endeavour to excite and attract men's attention, and they put up even with censure, provided that they can advertise themselves.  That is the style of Maecenas and all the others who stray from the path, not by hazard, but consciously and voluntarily. This is the result of great evil in the soul.  As in the case of drink, the tongue does not trip until the mind is overcome beneath its load and gives way or betrays itself; so that intoxication of style - for what else than this can I call it? - never gives trouble to anyone unless the soul begins to totter.  Therefore, I say, take care of the soul; for from the soul issue our thoughts, from the soul our words, from the soul our dispositions, our expressions, and our very gait.  When the soul is sound and strong, the style too is vigorous, energetic, manly ; but if the soul lose its balance, down comes all the rest in ruins. <Ep3-315> If but the king be safe, your swarm will live Harmonious; if he die, the bees revolt. The soul is our king.  If it be safe, the other functions remain on duty and serve with obedience; but the slightest lack of equilibrium in the soul causes them to waver along with it.  And when the soul has yielded to pleasure, its functions and actions grow weak, and any undertaking comes from a nerveless and unsteady source.  To persist in my use of this simile - our soul is at one time a king, at another a tyrant.  The king, in that he respects things honourable, watches over the welfare of the body which is entrusted to his charge, and gives that body no base, no ignoble commands. But an uncontrolled, passionate, and effeminate soul changes kingship into that most dread and detestable quality - tyranny; then it becomes a prey to the uncontrolled emotions, which dog its steps, elated at first, to be sure, like a populace idly sated with a largess which will ultimately be its undoing, and spoiling what it cannot consume.  But when the disease has gradually eaten away the strength, and luxurious habits have penetrated the marrow and the sinews, such a soul exults at the sight of limbs which, through its overindulgence, it has made useless; instead of its own pleasures, it views those of others; it becomes the go-between and witness of the passions which, as the result of self- gratification, it can no longer feel. Abundance of delights is not so pleasing a thing to that soul as it is bitter, because it cannot send all the dainties of yore down through the over-worked throat and stomach, because it can no longer whirl in the maze of eunuchs and mistresses, and it is melancholy because a great part of its happiness is shut off, through the limitations of the body. <Ep3-317>

[1] Quare quibusdam temporibus provenerit corrupti generis oratio quaeris et quomodo in quaedam vitia inclinatio ingeniorum facta sit, ut aliquando inflata explicatio vigeret, aliquando infracta et in morem cantici ducta; quare alias sensus audaces et fidem egressi placuerint, alias abruptae sententiae et suspiciosae, in quibus plus intellegendum esset quam audiendum; quare aliqua aetas fuerit quae translationis iure uteretur inverecunde. Hoc quod audire vulgo soles, quod apud Graecos in proverbium cessit: talis hominibus fuit oratio qualis vita. [2] Quemadmodum autem uniuscuiusque actio ~dicendi~ similis est, sic genus dicendi aliquando imitatur publicos mores, si disciplina civitatis laboravit et se in delicias dedit. Argumentum est luxuriae publicae orationis lascivia, si modo non in uno aut in altero fuit, sed adprobata est et recepta. [3] Non potest alius esse ingenio, alius animo color. Si ille sanus est, si compositus, gravis, temperans, ingenium quoque siccum ac sobrium est: illo vitiato hoc quoque adflatur. Non vides, si animus elanguit, trahi membra et pigre moveri pedes? si ille effeminatus est, in ipso incessu apparere mollitiam? si ille acer est et ferox, concitari gradum? si furit aut, quod furori simile est, irascitur, turbatum esse corporis motum nec ire sed ferri? Quanto hoc magis accidere ingenio putas, quod totum animo permixtum est, ab illo fingitur, illi paret, inde legem petit? [4] Quomodo Maecenas vixerit notius est quam ut narrari nunc debeat quomodo ambulaverit, quam delicatus fuerit, quam cupierit videri, quam vitia sua latere noluerit. Quid ergo? non oratio eius aeque soluta est quam ipse discinctus? non tam insignita illius verba sunt quam cultus, quam comitatus, quam domus, quam uxor? Magni vir ingenii fuerat si illud egisset via rectiore, si non vitasset intellegi, si non etiam in oratione difflueret. Videbis itaque eloquentiam ebrii hominis involutam et errantem et licentiae plenam. [Maecenas de cultu suo.] [5] Quid turpius 'amne silvisque ripa comantibus'? Vide ut 'alveum lyntribus arent versoque vado remittant hortos'. Quid? si quis 'feminae cinno crispat et labris columbatur incipitque suspirans, ut cervice lassa fanantur nemoris tyranni'. 'Inremediabilis factio rimantur epulis lagonaque temptant domos et spe mortem exigunt.' 'Genium festo vix suo testem.' 'Tenuisve cerei fila et crepacem molam.' 'Focum mater aut uxor investiunt.' [6] Non statim cum haec legeris hoc tibi occurret, hunc esse qui solutis tunicis in urbe semper incesserit (nam etiam cum absentis Caesaris partibus fungeretur, signum a discincto petebatur); hunc esse qui <in> tribunali, in rostris, in omni publico coetu sic apparuerit ut pallio velaretur caput exclusis utrimque auribus, non aliter quam in mimo fugitivi divitis solent; hunc esse cui tunc maxime civilibus bellis strepentibus et sollicita urbe et armata comitatus hic fuerit in publico, spadones duo, magis tamen viri quam ipse; hunc esse qui uxorem milliens duxit, cum unam habuerit? [7] Haec verba tam inprobe structa, tam neglegenter abiecta, tam contra consuetudinem omnium posita ostendunt mores quoque non minus novos et pravos et singulares fuisse. Maxima laus illi tribuitur mansuetudinis: pepercit gladio, sanguine abstinuit, nec ulla alia re quid posset quam licentia ostendit. Hanc ipsam laudem suam corrupit istis orationis portentosissimae delicis; apparet enim mollem fuisse, non mitem. [8] Hoc istae ambages compositionis, hoc verba transversa, hoc sensus miri, magni quidem saepe sed enervati dum exeunt, cuivis manifestum facient: motum illi felicitate nimia caput. Quod vitium hominis esse interdum, interdum temporis solet. [9] Ubi luxuriam late felicitas fudit, cultus primum corporum esse diligentior incipit; deinde supellectili laboratur; deinde in ipsas domos inpenditur cura ut in laxitatem ruris excurrant, ut parietes advectis trans maria marmoribus fulgeant, ut tecta varientur auro, ut lacunaribus pavimentorum respondeat nitor; deinde ad cenas lautitia transfertur et illic commendatio ex novitate et soliti ordinis commutatione captatur, ut ea quae includere solent cenam prima ponantur, ut quae advenientibus dabantur exeuntibus dentur. [10] Cum adsuevit animus fastidire quae ex more sunt et illi pro sordidis solita sunt, etiam in oratione quod novum est quaerit et modo antiqua verba atque exoleta revocat ac profert, modo fingit ~et ignota ac~ deflectit, modo, id quod nuper increbruit, pro cultu habetur audax translatio ac frequens. [11] Sunt qui sensus praecidant et hoc gratiam sperent, si sententia pependerit et audienti suspicionem sui fecerit; sunt qui illos detineant et porrigant; sunt qui non usque ad vitium accedant (necesse est enim hoc facere aliquid grande temptanti) sed qui ipsum vitium ament. Itaque ubicumque videris orationem corruptam placere, ibi mores quoque a recto descivisse non erit dubium. Quomodo conviviorum luxuria, quomodo vestium aegrae civitatis indicia sunt, sic orationis licentia, si modo frequens est, ostendit animos quoque a quibus verba exeunt procidisse. [12] Mirari quidem non debes corrupta excipi non tantum a corona sordidiore sed ab hac quoque turba cultiore; togis enim inter se isti, non iudicis distant. Hoc magis mirari potes, quod non tantum vitiosa sed vitia laudentur. Nam illud semper factum est: nullum sine venia placuit ingenium. Da mihi quemcumque vis magni nominis virum: dicam quid illi aetas sua ignoverit, quid in illo sciens dissimulaverit. Multos tibi dabo quibus vitia non nocuerint, quosdam quibus profuerint. Dabo, inquam, maximae famae et inter admiranda propositos, quos si quis corrigit, delet; sic enim vitia virtutibus inmixta sunt ut illas secum tractura sint. [13] Adice nunc quod oratio certam regulam non habet: consuetudo illam civitatis, quae numquam in eodem diu stetit, versat. Multi ex alieno saeculo petunt verba, duodecim tabulas loquuntur; Gracchus illis et Crassus et Curio nimis culti et recentes sunt, ad Appium usque et Coruncanium redeunt. Quidam contra, dum nihil nisi tritum et usitatum volunt, in sordes incidunt. [14] Utrumque diverso genere corruptum est, tam mehercules quam nolle nisi splendidis uti ac sonantibus et poeticis, necessaria atque in usu posita vitare. Tam hunc dicam peccare quam illum: alter se plus iusto colit, alter plus iusto neglegit; ille et crura, hic ne alas quidem vellit. [15] Ad compositionem transeamus. Quot genera tibi in hac dabo quibus peccetur? Quidam praefractam et asperam probant; disturbant de industria si quid placidius effluxit; nolunt sine salebra esse iuncturam; virilem putant et fortem quae aurem inaequalitate percutiat. Quorundam non est compositio, modulatio est; adeo blanditur et molliter labitur. [16] Quid de illa loquar in qua verba differuntur et diu expectata vix ad clausulas redeunt? Quid illa in exitu lenta, qualis Ciceronis est, devexa et molliter detinens nec aliter quam solet ad morem suum pedemque respondens? Non tantum * * * in genere sententiarum vitium est, si aut pusillae sunt et pueriles aut inprobae et plus ausae quam pudore salvo licet, si floridae sunt et nimis dulces, si in vanum exeunt et sine effectu nihil amplius quam sonant. [17] Haec vitia unus aliquis inducit, sub quo tunc eloquentia est, ceteri imitantur et alter alteri tradunt. Sic Sallustio vigente anputatae sententiae et verba ante expectatum cadentia et obscura brevitas fuere pro cultu. L. Arruntius, vir rarae frugalitatis, qui historias belli Punici scripsit, fuit Sallustianus et in illud genus nitens. Est apud Sallustium 'exercitum argento fecit', id est, pecunia paravit. Hoc Arruntius amare coepit; posuit illud omnibus paginis. Dicit quodam loco 'fugam nostris fecere', alio loco 'Hiero rex Syracusanorum bellum fecit', et alio loco 'quae audita Panhormitanos dedere Romanis fecere'. [18] Gustum tibi dare volui: totus his contexitur liber. Quae apud Sallustium rara fuerunt apud hunc crebra sunt et paene continua, nec sine causa; ille enim in haec incidebat, at hic illa quaerebat. Vides autem quid sequatur ubi alicui vitium pro exemplo est. [19] Dixit Sallustius 'aquis hiemantibus'. Arruntius in primo libro belli Punici ait 'repente hiemavit tempestas', et alio loco cum dicere vellet frigidum annum fuisse ait 'totus hiemavit annus', et alio loco 'inde sexaginta onerarias leves praeter militem et necessarios nautarum hiemante aquilone misit'. Non desinit omnibus locis hoc verbum infulcire. Quodam loco dicit Sallustius 'dum inter arma civilia aequi bonique famas petit'. Arruntius non temperavit quominus primo statim libro poneret ingentes esse 'famas' de Regulo. [20] Haec ergo et eiusmodi vitia, quae alicui inpressit imitatio, non sunt indicia luxuriae nec animi corrupti; propria enim esse debent et ex ipso nata ex quibus tu aestimes alicuius adfectus: iracundi hominis iracunda oratio est, commoti nimis incitata, delicati tenera et fluxa. [21] Quod vides istos sequi qui aut vellunt barbam aut intervellunt, qui labra pressius tondent et adradunt servata et summissa cetera parte, qui lacernas coloris inprobi sumunt, qui perlucentem togam, qui nolunt facere quicquam quod hominum oculis transire liceat: inritant illos et in se avertunt, volunt vel reprehendi dum conspici. Talis est oratio Maecenatis omniumque aliorum qui non casu errant sed scientes volentesque. [22] Hoc a magno animi malo oritur: quomodo in vino non ante lingua titubat quam mens cessit oneri et inclinata vel prodita est, ita ista orationis quid aliud quam ebrietas nulli molesta est nisi animus labat. Ideo ille curetur: ab illo sensus, ab illo verba exeunt, ab illo nobis est habitus, vultus, incessus. Illo sano ac valente oratio quoque robusta, fortis, virilis est: si ille procubuit, et cetera ruinam sequuntur. [23] Rex noster est animus; hoc incolumi cetera manent in officio, parent, obtemperant: cum ille paulum vacillavit, simul dubitant. Cum vero cessit voluptati, artes quoque eius actusque marcent et omnis ex languido fluidoque conatus est. [24] Quoniam hac similitudine usus sum, perseverabo. Animus noster modo rex est, modo tyrannus: rex cum honesta intuetur, salutem commissi sibi corporis curat et illi nihil imperat turpe, nihil sordidum; ubi vero inpotens, cupidus, delicatus est, transit in nomen detestabile ac dirum et fit tyrannus. Tunc illum excipiunt adfectus inpotentes et instant; qui initio quidem gaudet, ut solet populus largitione nocitura frustra plenus et quae non potest haurire contrectans; [25] cum vero magis ac magis vires morbus exedit et in medullas nervosque descendere deliciae, conspectu eorum quibus se nimia aviditate inutilem reddidit laetus, pro suis voluptatibus habet alienarum spectaculum, sumministrator libidinum testisque, quarum usum sibi ingerendo abstulit. Nec illi tam gratum est abundare iucundis quam acerbum quod non omnem illum apparatum per gulam ventremque transmittit, quod non cum omni exoletorum feminarumque turba convolutatur, maeretque quod magna pars suae felicitatis exclusa corporis angustiis cessat. [26] Numquid enim, mi Lucili, <non> in hoc furor est, quod nemo nostrum mortalem se cogitat, quod nemo inbecillum? immo quod nemo nostrum unum esse se cogitat? Aspice culinas nostras et concursantis inter tot ignes cocos: unum videri putas ventrem cui tanto tumultu comparatur cibus? Aspice veteraria nostra et plena multorum saeculorum vindemiis horrea: unum putas videri ventrem cui tot consulum regionumque vina cluduntur? Aspice quot locis terra vertatur, quot millia colonorum arent, fodiant: unum videri putas ventrem cui et in Sicilia et in Africa seritur? [27] Sani erimus et modica concupiscemus si unusquisque se numeret, metiatur simul corpus, sciat quam nec multum capere nec diu possit. Nihil tamen aeque tibi profuerit ad temperantiam omnium rerum quam frequens cogitatio brevis aevi et huius incerti: quidquid facies, respice ad mortem. Vale.