“There’s not anyone who doesn’t change their plan and prayer every day. They want a spouse then a girlfriend, now to be kind and then next tries to act no better than a slave. Blow up so big to attract everyone’s contempt only to shrink and whittle back down to more humility than those who are barely there at all. Sometimes, you toss money around; other times, you steal it.
This is the foremost sign of a foolish mind: it tries to take this shape and that and is never equal to itself–a thing which I think is the most shameful quality. Trust me, it is a prize role, to play the part of a single person. But there’s no one who can be only one person except the wise one. The rest of us frequently change our shapes. Sometimes, you believe we are are frugal and serious, the rest of the time wasteful and silly. We keep changing our masks to take up the opposite character.
Instead, you should make yourself play that role up to the end of your life that you started at its beginning. Try to make people praise you, or, at the least, recognize who you are. As it is now, you can say about the person you saw yesterday, “who is this”, because that’s how much they’ve changed. Goodbye.”
Nemo non cotidie et consilium mutat et votum. Modo uxorem vult habere, modo amicam, modo regnare vult, modo id agit, ne quis sit officiosior servus, modo dilatat se usque ad invidiam, modo subsidit et contrahitur infra humilitatem vere iacentium, nunc pecuniam spargit, nunc rapit.
Sic maxime coarguitur animus inprudens; alius prodit atque alius et, quo turpius nihil iudico, impar sibi est. Magnam rem puta unum hominem agere. Praeter sapientem autem nemo unum agit, ceteri multiformes sumus. Modo frugi tibi videbimur et graves, modo prodigi et vani. Mutamus subinde personam et contrariam ei sumimus, quam exuimus. Hoc ergo a te exige, ut, qualem institueris praestare te, talem usque ad exitum serves. Effice ut possis laudari, si minus, ut adgnosci. De aliquo, quem here vidisti, merito dici potest: “hic qui est?” Tanta mutatio est. Vale.
Mid third century House of Masks, Sousse Archeological Museum of Sousse
Cicero calls lots of people monsters (immanis, belva, monstrum) but his favorite beast to burden is Marcus Antonius. Here is a sampling of the monstrous things he says about him.
Philippic 4.1
“Your affair, Romans, is not with a criminal and evil man, but with a twisted, enormous beast who should be overcome now that he has fallen in a trap.
Non est vobis res, Quirites, cum scelerato homine ac nefario, sed cum immani taetraque belua quae, quoniam in foveam incidit, obruatur.
Philippic 7.27
“Beware lest you allow this twisted and pestilential beast who has been constrained by labors.”
taetram et pestiferam beluam ne inclusam et constrictam dimittatis cavete.
Philippic 13. 21
“Who was ever such a barbarian, such a beast, such an animal?”
Quis tam barbarus umquam, tam immanis, tam ferus?
Philippic 13.28
“But who can bear this most twisted beast, or how could they? What exists in Antonius apart from lust, cruelty, immaturity, and arrogance?”
Hanc vero taeterrimam beluam quis ferre potest aut quo modo? Quid est in Antonio praeter libidinem, crudelitatem, petulantiam, audaciam?
Philippic 8.13
“Since you were also accustomed to complain about a person, what do you think you would do about a beast?”
Quin etiam de illo homine queri solebas: quid te facturum de belua putas?
Marcus Cornelius Fronto to Antoninus Augustus Ambr. 390 17
“Aesopus the tragedian reportedly never put a mask on his face until he had looked at it for awhile from the other side so that he might change his gestures and alter his voice in line with the appearance of the mask.”
Tragicus Aesopus fertur non prius ullam suo induisse capiti personam, antequam diu ex adverso contemplaret, ut pro personae voltu gestum sibi capessere ac vocem <adsimulare posset>
“The joy of the people who are called “happy” is fake but their sadness is deep and profound and that much heavier because it is not allowed for them to openly be unhappy. Instead they need to act happy even while grief consumes their hearts.
I must often use the following example and nothing else so effectively expresses the drama of human life where we are assigned roles that we play so badly. Over there is someone who takes up a lot of space on the stage and bellows with his head to the sky: “Look, I rule Argos: Pelops left the realm to me / from the Hellespont and the Ionian sea / pressing on the Isthmus…” He is a slave and he earns five measures of grain and as many denarii.
Over there is an arrogant but powerless man swollen with belief in his strengths, saying: “If you don’t quiet down, Menelaus, you’ll die by this hand.” He earns pennies a day and sleeps on trash.
You can speak the same way about all these fools riding around above the heads of other men and the whole crowd. The happiness of all these people is just a mask. Strip them of it and hold them in contempt.”
eorum, qui felices vocantur, hilaritas ficta est at gravis et subpurata tristitia, eo quidem gravior, quia interdum non licet palam esse miseros, sed inter aerumnas cor ipsum exedentes necesse est agere felicem. Saepius hoc exemplo mihi utendum est, nec enim ullo efficacius exprimitur hic humanae vitae mimus, qui nobis partes, quas male agamus, adsignat. Ille, qui in scaena latus incedit et haec resupinus dicit
En impero Argis; regna mihi liquit Pelops,
Qua ponto ab Helles atque ab Ionio mari
Urgetur Isthmos,
servus est, quinque modios accipit et quinque denarios;
ille qui superbus atque inpotens et fiducia virium tumidus ait:
Quod nisi quieris, Menelae, hac dextra occides,
diurnum accipit, in centunculo dormit. Idem de istis licet omnibus dicas, quos supra capita hominum supraque turbam delicatos lectica suspendit; omnium istorum personata felicitas est. Contemnes illos, si despoliaveris.
Wall Painting from Herculaneum. Actor with mask and Muses. Napoli, Museo Archeologico Nazionale 9019
“There’s not anyone who doesn’t change their plan and prayer every day. They want a spouse then a girlfriend, now to be kind and then next tries to act no better than a slave. Blow up so big to attract everyone’s contempt only to shrink and whittle back down to more humility than those who are barely there at all. Sometimes, you toss money around; other times, you steal it.
This is the foremost sign of a foolish mind: it tries to take this shape and that and is never equal to itself–a thing which I think is the most shameful quality. Trust me, it is a prize role, to play the part of a single person. But there’s no one who can be only one person except the wise one. The rest of us frequently change our shapes. Sometimes, you believe we are are frugal and serious, the rest of the time wasteful and silly. We keep changing our masks to take up the opposite character.
Instead, you should make yourself play that role up to the end of your life that you started at its beginning. Try to make people praise you, or, at the least, recognize who you are. As it is now, you can say about the person you saw yesterday, “who is this”, because that’s how much they’ve changed. Goodbye.”
Nemo non cotidie et consilium mutat et votum. Modo uxorem vult habere, modo amicam, modo regnare vult, modo id agit, ne quis sit officiosior servus, modo dilatat se usque ad invidiam, modo subsidit et contrahitur infra humilitatem vere iacentium, nunc pecuniam spargit, nunc rapit.
Sic maxime coarguitur animus inprudens; alius prodit atque alius et, quo turpius nihil iudico, impar sibi est. Magnam rem puta unum hominem agere. Praeter sapientem autem nemo unum agit, ceteri multiformes sumus. Modo frugi tibi videbimur et graves, modo prodigi et vani. Mutamus subinde personam et contrariam ei sumimus, quam exuimus. Hoc ergo a te exige, ut, qualem institueris praestare te, talem usque ad exitum serves. Effice ut possis laudari, si minus, ut adgnosci. De aliquo, quem here vidisti, merito dici potest: “hic qui est?” Tanta mutatio est. Vale.
Mid third century House of Masks, Sousse Archeological Museum of Sousse
Cicero calls lots of people monsters (immanis, belva, monstrum) but his favorite beast to burden is Marcus Antonius. Here is a sampling of the monstrous things he says about him.
Philippic 4.1
“Your affair, Romans, is not with a criminal and evil man, but with a twisted, enormous beast who should be overcome now that he has fallen in a trap.
Non est vobis res, Quirites, cum scelerato homine ac nefario, sed cum immani taetraque belua quae, quoniam in foveam incidit, obruatur.
Philippic 7.27
“Beware lest you allow this twisted and pestilential beast who has been constrained by labors.”
taetram et pestiferam beluam ne inclusam et constrictam dimittatis cavete.
Philippic 13. 21
“Who was ever such a barbarian, such a beast, such an animal?”
Quis tam barbarus umquam, tam immanis, tam ferus?
Philippic 13.28
“But who can bear this most twisted beast, or how could they? What exists in Antonius apart from lust, cruelty, immaturity, and arrogance?”
Hanc vero taeterrimam beluam quis ferre potest aut quo modo? Quid est in Antonio praeter libidinem, crudelitatem, petulantiam, audaciam?
Philippic 8.13
“Since you were also accustomed to complain about a person, what do you think you would do about a beast?”
Quin etiam de illo homine queri solebas: quid te facturum de belua putas?
“If we truly encounter some pain and grief, we need to force cheer and ease from the good things we have left to us, smoothing away everything from the outside with our inner strength.
But for those things whose nature bears no evil, but whose pain is completely and simply fashioned from empty opinion, we need to behave as with children who fear masks, putting them into their hands and turning them over, training them not to think too much of them. In this way, by touching things and submitting them to reason, we can uncover their weakness, their emptiness, and their histrionic facade.”
Marcus Cornelius Fronto to Antoninus Augustus Ambr. 390 17
“Aesopus the tragedian reportedly never put a mask on his face until he had looked at it for awhile from the other side so that he might change his gestures and alter his voice in line with the appearance of the mask.”
Tragicus Aesopus fertur non prius ullam suo induisse capiti personam, antequam diu ex adverso contemplaret, ut pro personae voltu gestum sibi capessere ac vocem <adsimulare posset>
“Just as masks seem frightening and awful to children because of their inexperience, so too do we suffer something similar to current events—it is not different from how children respond to bogeymen. For what is childish? Ignorance. What else is childish? Lack of learning. When a child has learned something, they are no worse off than we are.
What is death? A bogeyman. Turn it around, get personal with it. Look! How can it bite? This little body needs to be separated from the spirit just as it was once before, either now or some time later. Why is it troubling if it happens now? If it doesn’t, it will later. Why? So that the cycle of the universe doesn’t stop. It requires everything that exists now, all things that will happen, and all those that happened before.
What is pain? It’s a bogeyman. Turn it around and get comfortable with it…”
Marcus Cornelius Fronto to Antoninus Augustus Ambr. 390 17
“Aesopus the tragedian reportedly never put a mask on his face until he had looked at it for awhile from the other side so that he might change his gestures and alter his voice in line with the appearance of the mask.”
Tragicus Aesopus fertur non prius ullam suo induisse capiti personam, antequam diu ex adverso contemplaret, ut pro personae voltu gestum sibi capessere ac vocem <adsimulare posset>
“If we truly encounter some pain and grief, we need to force cheer and ease from the good things we have left to us, smoothing away everything from the outside with our inner strength.
But for those things whose nature bears no evil, but whose pain is completely and simply fashioned from empty opinion, we need to behave as with children who fear masks, putting them into their hands and turning them over, training them not to think too much of them. In this way, by touching things and submitting them to reason, we can uncover their weakness, their emptiness, and their histrionic facade.”
Marcus Cornelius Fronto to Antoninus Augustus Ambr. 390 17
“Aesopus the tragedian reportedly never put a mask on his face until he had looked at it for awhile from the other side so that he might change his gestures and alter his voice in line with the appearance of the mask.”
Tragicus Aesopus fertur non prius ullam suo induisse capiti personam, antequam diu ex adverso contemplaret, ut pro personae voltu gestum sibi capessere ac vocem <adsimulare posset>
Diogenes Laertius, Ariston 160
“[He compared] the wise man to a good actor who could take up the role of both Thersites and Agamemnon and play either appropriately
“There will soon be a time when the tragic actors will believe that their masks and costumes are their real selves. You have these things as material and a plot. Say something so we may know whether you are a tragic actor or a comedian. For they have the rest of their material in common [apart from the words]. If one, then, should deprive the actor of his buskins and his masks and introduce him to the stage as only a ghost, has the actor been lost or does he remain? If he has a voice, he remains.”
“Remember that you are an actor in a drama, whatever kind the playwright desires. If he wishes it to be short, it is short. If he wants it to be long, it is long.
If he wants you to act as a beggar, act even that part seriously. And the same if you are a cripple, a ruler, or a fool. This is your role: to play well the part you were given. It is another’s duty to choose.”
Teles the Philosopher, On Self-Sufficiency (Hense, 5)
“Just as a good actor will carry off well whatever role the poet assigns him, so too a good person should manage well whatever chance allots. For chance, as Biôn says, just like poetry, assigns the role of the first speaker and the second speaker, now a king and then a vagabond. Don’t long to be the second speaker when you have the role of the first. Otherwise, you will create disharmony.”
By chance a fox had seen a tragic mask: What a sight, he has no brains inside!–he gasped. To whomever fortune grants honor and glory, It deprives of common sense, as in this story.
Personam tragicam forte vulpes viderat: O quanta species, inquit, cerebrum non habet! Hoc illis dictum est, quibus honorem et gloriam Fortuna tribuit, sensum communem abstulit.
Marcus Cornelius Fronto to Antoninus Augustus Ambr. 390 17
“Aesopus the tragedian reportedly never put a mask on his face until he had looked at it for awhile from the other side so that he might change his gestures and alter his voice in line with the appearance of the mask.”
Tragicus Aesopus fertur non prius ullam suo induisse capiti personam, antequam diu ex adverso contemplaret, ut pro personae voltu gestum sibi capessere ac vocem <adsimulare posset>
.jpg){kind=link}
.jpg){kind=link}