The Consolation of Philosophy E-Book

Boethius

• Herausgeber: Passerino Editore
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2015

Beschreibung

"The Consolation of Philosophy" (Latin: De consolatione philosophiæ) is a work by the sixth-century philosopher Boethius that has been described as having had the single most important influence on the Christianity of the Middle Ages and early Renaissance and as the last great work of the Classical Period.    Anicius Manlius Severinus Boëthius, commonly called Boethius (c. 480–524 AD), was a Roman senator, consul, magister officiorum, and philosopher of the early 6th century.   Translated into English Prose and Verse by H. R. James (1862-1936).

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Table of contents

Preface (by H. R. James)

Proem

Book I. The Sorrows of Boethius.

Song I.

Song II.

Song III.

Song IV.

Song V.

Song VI.

Song VII.

Book II.

SONG I.

SONG II.

SONG III.

SONG IV.

SONG V.

SONG VI.

SONG VII.

SONG VIII.

Book III.

SONG I.

SONG II.

SONG III.

SONG IV.

Song V.

SONG VI.

SONG VII.

SONG VIII.

Song IX.

Song XI.

SONG XII.

​ Book IV.

Song I.

Song II.

Song III.

Song IV.

Song V.

Song VI.

Song VII.

Book V.

Song I.

Song II.

Song III.

Song IV.

Song V.

Epilogue.

Credits

BoethiusThe Consolation of Philosophy***Translated into English Prose and Verse by H. R. James (1862-1936)

Preface (by H. R. James)

The book called ‘The Consolation of Philosophy’ was throughout the Middle Ages, and down to the beginnings of the modern epoch in the sixteenth century, the scholar’s familiar companion. Few books have exercised a wider influence in their time. It has been translated into every European tongue, and into English nearly a dozen times, from King Alfred’s paraphrase to the translations of Lord Preston, Causton, Ridpath, and Duncan, in the eighteenth century. The belief that what once pleased so widely must still have some charm is my excuse for attempting the present translation. The great work of Boethius, with its alternate prose and verse, skilfully fitted together like dialogue and chorus in a Greek play, is unique in literature, and has a pathetic interest from the time and circumstances of its composition. It ought not to be forgotten. Those who can go to the original will find their reward. There may be room also for a new translation in English after an interval of close on a hundred years.

Some of the editions contain a reproduction of a bust purporting to represent Boethius. Lord Preston’s translation, for example, has such a portrait, which it refers to an original in marble at Rome. This I have been unable to trace, and suspect that it is apocryphal. The Hope Collection at Oxford contains a completely different portrait in a print, which gives no authority. I have ventured to use as a frontispiece a reproduction from a plaster-cast in the Ashmolean Museum, taken from an ivory diptych preserved in the Bibliotheca Quiriniana at Brescia, which represents Narius Manlius Boethius, the father of the philosopher. Portraiture of this period is so rare that it seemed that, failing a likeness of the author himself, this authentic representation of his father might have interest, as giving the consular dress and insignia of the time, and also as illustrating the decadence of contemporary art. The consul wears a richly-embroidered cloak; his right hand holds a staff surmounted by the Roman eagle, his left the mappa circensis, or napkin used for starting the races in the circus; at his feet are palms and bags of money — prizes for the victors in the games. For permission to use this cast my thanks are due to the authorities of the Ashmolean Museum, as also to Mr. T.W. Jackson, Curator of the Hope Collection, who first called my attention to its existence.

I have to thank my brother, Mr. L. James, of Radley College, for much valuable help and for correcting the proof-sheets of the translation. The text used is that of Peiper, Leipsic, 1874.

Proem

Anicus Manlius Severinus Boethius lived in the last quarter of the fifth century A.D., and the first quarter of the sixth. He was growing to manhood, when Theodoric, the famous Ostrogoth, crossed the Alps and made himself master of Italy. Boethius belonged to an ancient family, which boasted a connection with the legendary glories of the Republic, and was still among the foremost in wealth and dignity in the days of Rome’s abasement. His parents dying early, he was brought up by Symmachus, whom the age agreed to regard as of almost saintly character, and afterwards became his son-inlaw. His varied gifts, aided by an excellent education, won for him the reputation of the most accomplished man of his time. He was orator, poet, musician, philosopher. It is his peculiar distinction to have handed on to the Middle Ages the tradition of Greek philosophy by his Latin translations of the works of Aristotle. Called early to a public career, the highest honours of the State came to him unsought. He was sole Consul in 510 A.D., and was ultimately raised by Theodoric to the dignity of Magister Officiorum, or head of the whole civil administration. He was no less happy in his domestic life, in the virtues of his wife, Rusticiana, and the fair promise of his two sons, Symmachus and Boethius; happy also in the society of a refined circle of friends. Noble, wealthy, accomplished, universally esteemed for his virtues, high in the favour of the Gothic King, he appeared to all men a signal example of the union of merit and good fortune. His felicity seemed to culminate in the year 522 A.D., when, by special and extraordinary favour, his two sons, young as they were for so exalted an honour, were created joint Consuls and rode to the senate-house attended by a throng of senators, and the acclamations of the multitude. Boethius himself, amid the general applause, delivered the public speech in the King’s honour usual on such occasions. Within a year he was a solitary prisoner at Pavia, stripped of honours, wealth, and friends, with death hanging over him, and a terror worse than death, in the fear lest those dearest to him should be involved in the worst results of his downfall. It is in this situation that the opening of the ‘Consolation of Philosophy’ brings Boethius before us. He represents himself as seated in his prison distraught with grief, indignant at the injustice of his misfortunes, and seeking relief for his melancholy in writing verses descriptive of his condition. Suddenly there appears to him the Divine figure of Philosophy, in the guise of a woman of superhuman dignity and beauty, who by a succession of discourses convinces him of the vanity of regret for the lost gifts of fortune, raises his mind once more to the contemplation of the true good, and makes clear to him the mystery of the world’s moral government.

Book I. The Sorrows of Boethius.

Summary.

Boethius’ complaint (Song I.). — CH. I. Philosophy appears to Boethius, drives away the Muses of Poetry, and herself laments (Song II.) the disordered condition of his mind. — CH. II. Boethius is speechless with amazement. Philosophy wipes away the tears that have clouded his eyesight. — CH. III. Boethius recognises his mistress Philosophy. To his wondering inquiries she explains her presence, and recalls to his mind the persecutions to which Philosophy has oftentimes from of old been subjected by an ignorant world. CH. IV. Philosophy bids Boethius declare his griefs. He relates the story of his unjust accusation and ruin. He concludes with a prayer (Song V.) that the moral disorder in human affairs may be set right. — CH. V. Philosophy admits the justice of Boethius’ self-vindication, but grieves rather for the unhappy change in his mind. She will first tranquillize his spirit by soothing remedies. — CH. VI. Philosophy tests Boethius’ mental state by certain questions, and discovers three chief causes of his soul’s sickness: (1) He has forgotten his own true nature; (2) he knows not the end towards which the whole universe tends; (3) he knows not the means by which the world is governed.

Song I.

Boethius’ Complaint.

While I was thus mutely pondering within myself, and recording my sorrowful complainings with my pen, it seemed to me that there appeared above my head a woman of a countenance exceeding venerable. Her eyes were bright as fire, and of a more than human keenness; her complexion was lively, her vigour showed no trace of enfeeblement; and yet her years were right full, and she plainly seemed not of our age and time. Her stature was difficult to judge. At one moment it exceeded not the common height, at another her forehead seemed to strike the sky; and whenever she raised her head higher, she began to pierce within the very heavens, and to baffle the eyes of them that looked upon her. Her garments were of an imperishable fabric, wrought with the finest threads and of the most delicate workmanship; and these, as her own lips afterwards assured me, she had herself woven with her own hands. The beauty of this vesture had been somewhat tarnished by age and neglect, and wore that dingy look which marble contracts from exposure. On the lower-most edge was inwoven the Greek letter Π, on the topmost the letter θ, and between the two were to be seen steps, like a staircase, from the lower to the upper letter. This robe, moreover, had been torn by the hands of violent persons, who had each snatched away what he could clutch.  Her right hand held a note-book; in her left she bore a staff. And when she saw the Muses of Poesie standing by my bedside, dictating the words of my lamentations, she was moved awhile to wrath, and her eyes flashed sternly. ‘Who,’ said she, ‘has allowed yon play-acting wantons to approach this sick man — these who, so far from giving medicine to heal his malady, even feed it with sweet poison? These it is who kill the rich crop of reason with the barren thorns of passion, who accustom men’s minds to disease, instead of setting them free. Now, were it some common man whom your allurements were seducing, as is usually your way, I should be less indignant. On such a one I should not have spent my pains for naught. But this is one nurtured in the Eleatic and Academic philosophies. Nay, get ye gone, ye sirens, whose sweetness lasteth not; leave him for my muses to tend and heal!’ At these words of upbraiding, the whole band, in deepened sadness, with downcast eyes, and blushes that confessed their shame, dolefully left the chamber.