liber nigrae peregrinations

We will keep fighting for all libraries - stand with us!

Internet Archive Audio

• This Just In
• Grateful Dead
• Old Time Radio
• 78 RPMs and Cylinder Recordings
• Audio Books & Poetry
• Computers, Technology and Science
• Music, Arts & Culture
• News & Public Affairs
• Spirituality & Religion
• Radio News Archive

• Flickr Commons
• Occupy Wall Street Flickr
• NASA Images
• Solar System Collection
• Ames Research Center

• All Software
• Old School Emulation
• MS-DOS Games
• Historical Software
• Classic PC Games
• Software Library
• Kodi Archive and Support File
• Vintage Software
• CD-ROM Software
• CD-ROM Software Library
• Software Sites
• Tucows Software Library
• Shareware CD-ROMs
• Software Capsules Compilation
• CD-ROM Images
• ZX Spectrum
• DOOM Level CD

• Smithsonian Libraries
• FEDLINK (US)
• Lincoln Collection
• American Libraries
• Canadian Libraries
• Universal Library
• Project Gutenberg
• Children's Library
• Biodiversity Heritage Library
• Books by Language
• Additional Collections

• Prelinger Archives
• Democracy Now!
• Occupy Wall Street
• TV NSA Clip Library
• Animation & Cartoons
• Arts & Music
• Computers & Technology
• Cultural & Academic Films
• Ephemeral Films
• Sports Videos
• Videogame Videos
• Youth Media

Search the history of over 866 billion web pages on the Internet.

Mobile Apps

• Wayback Machine (iOS)
• Wayback Machine (Android)

Browser Extensions

Archive-it subscription.

• Explore the Collections
• Build Collections

Save Page Now

Capture a web page as it appears now for use as a trusted citation in the future.

Please enter a valid web address

• Donate Donate icon An illustration of a heart shape

monsieur_etranger - LIBER NIGRAE PEREGRINATIONIS.A.D.MMX

Audio with external links item preview.

Share or Embed This Item

Flag this item for.

• Graphic Violence
• Explicit Sexual Content
• Hate Speech
• Misinformation/Disinformation
• Marketing/Phishing/Advertising
• Misleading/Inaccurate/Missing Metadata

Jamendo Album #072236

Tracklisting:

01 - I.INTROIBO I-II-III 02 - II.SEQVENTIA 03 - III.ORATIO 04 - IV.NON SERVIAM

Please read the Readme.txt and License.txt files for important origin and licensing information.

plus-circle Add Review comment Reviews

Download options, in collections.

Uploaded by Jason Scott on December 24, 2011

SIMILAR ITEMS (based on metadata)

Diwan: A Wind

Friday, september 27, 2013, liber nigrae peregrinationis.

Labels: #accelerationism

0 Comments:

Post a Comment

<< Home

Previous Posts

• this is not how we treat our sharks
• Over the abyss in the rye
• Who moved my chaise?
• Pyrocumulus
• echo's hold
• selfie agonistes
• a hothead dwarf howl
• Tilbury Poly
• nano-ablative
• War is a weather. Being hunted is personal.

This is a paragraph of text that could go in the sidebar.

The Encyclopedia of Fantastic Victoriana

by Jess Nevins

"Count Magnus"  (1904)

copyright  © Jess Nevins 2022

“Count Magnus” was written by M.R. James and first appeared in Ghost Stories of an Antiquary (1904). Montague Rhodes James (1862-1936) was the Dean and later provost of King's College in Cambridge and was in his lifetime one of the foremost medievalists in Europe. He is known today as one of the best writers of the supernatural of any century. Although his name is not as widely known as that of H.P. Lovecraft or Henry James, the cognoscenti esteem his work and see him as one of the first modern writers of supernatural fiction. “Count Magnus” is a more straightforward story than “Canon Alberic’s Scrap-Book,” but is still enjoyable and creepy.

The narrator of “Count Magnus” describes the contents of some papers he came into the possession of. They describe how a Mr. Wraxall decided to write a travelogue about Sweden. Wraxall lived during the years when relatively little was known about Scandinavia, so he acquires letters of introduction to various persons of quality and travels to Sweden. During his visit to the “scion of the great house of De la Gardie” 1   Wraxall visits the church near the manor house and the mausoleum next to the church. The mausoleum is the resting place of Count Magnus de la Gardie, the first de la Gardie, who was, in his time, a widely feared man who put down a peasant uprising with no mercy whatsoever. A portrait of Count Magnus shows him to be a powerful-looking if remarkably ugly man. Wraxall speaks with his landlord about Magnus; he is told that the Count is not well remembered, that during his own time he was a terror to his neighbors, and that he was even reported to have gone on a Black Pilgrimage, although what that was, the landlord will not say. Wraxall examines some of the manor house’s papers and finds one of Magnus’ books, containing tracts on alchemy and other subjects. Wraxall is unfamiliar with alchemy and skims through the book, but he finds a leaf in the hand of Magnus himself, entitled Liber nigrae peregrinations . In English is written a line about obtaining long life by visiting the prince of the air. This casts Magnus in a picturesque air, to Wraxall, and when next he walks by the mausoleum he says out loud, “Ah, Count Magnus, there you are. I should dearly like to see you.” 2  Wraxall hears a metallic clang from inside the church–just a cleaning woman dropping something, surely. Wraxall asks the landlord of the inn at which he is staying about the Black Pilgrimage, and is told a story about two men, in the time of the landlord’s grandfather, who went hunting in the Count’s woods. (He was long dead, after all, and what was the harm of it?) The night they went hunting screams were heard from the woods, and then, from farther off, laughter from someone not a man at all. One of the men is found alive, but trying to push something away from him, something that is not there. The other man is found dead, the flesh of his face sucked away from his bones.

The next day Wraxall sees the key to the mausoleum hanging by the church pulpit. Wraxall decides that there is no harm in visiting the mausoleum by himself, and goes in. He finds a full length effigy of Magnus, around the edge of which there are various scenes from Magnus’ life. In one a man is shown running away from another figure, a short “man” covered by a hooded garment; the only part of the man’s body which can be seen is “not shaped like any hard or arm. Mr. Wraxall compares it to the tentacle of a devil fish.” 3   Looking at the scene is a cloaked man on a nearby hillock, leaning on a stick. Wraxall also notices that one of the three steel padlocks which secure Magnus’ sarcophagus is open and lying on the floor. Walking back from the mausoleum Wraxall loses track of where is his and comes back to himself at the churchyard gate where he is “singing or chanting some such words as, ‘Are you awake, Count Magnus? Are you asleep, Count Magnus?’ and then something more which I have failed to recollect. It seemed to me that I must have been behaving in this nonsensical way for some time.” 4   Wraxall spends most of the day going through the papers; on the way back to the inn he sees that two of the padlocks from the Count’s sarcophagus are loose. The following day is Wraxall’s last, and as he mentally says his farewells to the area he decides that he must say goodbye to Count Magnus. He lets himself into the mausoleum and says, “You may have been a bit of a rascal in your time, Magnus, but for all that I should like to see you, or, rather–“ 5  

What follows:

Just at that instant I felt a blow on my foot. Hastily enough I drew it back, and something fell on the pavement with a clash. It was the third, the last of the three padlocks which had fastened the sarcophagus. I stopped to pick it up, and–Heaven is my witness that I am writing only the bare truth–before I had raised myself there was a sound of metal hinges creaking, and I distinctly saw the lid shifting upwards. I may have behaved like a coward, but I could not for my life stay for one moment. I was outside that dreadful building in less time than I can write–almost as quickly as I could have said–the words; and what frightens me yet more, I could not turn the key in the lock. As I sit here in my room noting these facts, I ask myself (it was not twenty minutes ago) whether that noise of creaking metal continued, and I cannot tell whether it did or not. I only know that there was something more than I have written that alarmed me, but whether it was sound or sight I am not able to remember. What is this that I have done? 6  

The narrator then describes the contents of Mr. Wraxall’s travel notebook. Wraxall is, “from his changed hand and inconsequent jotting, a broken man,” 7   and he takes notes on his fellow travelers on a trip on a canal boat. “Twenty eight people appear in the enumeration, one being always a man in a long black cloak and broad hat, and the other a ‘short figure in dark cloak and hood.’” 8   On reaching England Wraxall acted as if he were being pursued, and fled in a closed carriage. Passing by one crossroad he sees the two figures standing motionless. At his destination, a small village, he stays for a day, writing his last notes about the visit he expects from his pursuers. That night he is found dead, and his body is such that “the jury that viewed the body fainted, seven of ‘em did, and none of ‘em wouldn’t speak to what they see, and the verdict was visitation of God.” 9  

“Count Magnus” is another fine M.R. James story. More straightforward than “Canon Alberic’s Scrap-Book ,” the story’s premise is obvious almost from the beginning, and the story is predictable in a way that “Canon Alberic’s Scrap-Book” was not but “Oh, Whistle, and I’ll Come to You, My Lad” was. “Count Magnus” is predictable but still quite enjoyable, not so much for its premise as the ideas displayed in the story, such as the way in which James executes the story’s premise, and James’ style, which is as smooth here as it is in his other stories. The method in which Magnus returns, the warnings Wraxall ignores, the deliciously evil hints about Magnus’ personality and history, the frightening implications of Wraxall’s words to Magnus’ sarcophagus, the oncoming doom so clear to the reader but to which Wraxall is oblivious–these are all aspects of what redeem the relatively simple plot and make “Count Magnus” so effective. James’ style works superbly well here; he describes the horrors in an indirect fashion, so that the reader is not sure what emerged from the crypt or what that short figure really is or what Wraxall’s face, in death, looked like. But the reader knows what is important: that they are creepy. James has a knack for coining precise and chilling phrases; the short figure’s appendage, which is not so much an arm or hand as “the tentacle of a devil fish,” implies whole vistas of horror. James’ avoidance of first person narration, so that the story is read as it is summarized from written notes, takes away from the immediacy and visceral terror of the story, but the timely excerpts deliver more than enough chills.

Recommended Edition

Print: M.R. James, Collected Ghost Stories. Oxford: Oxford University Press, 2011.

Online: https://catalog.hathitrust.org/Record/100337874/

1 M.R. James, “Count Magnus,” Ghost-Stories of an Antiquary (London: Edward Arnold, 1905), 155.

2 James, “Count Magnus,” 164.

3 James, “Count Magnus,” 171.

4 James, “Count Magnus,” 172-173.

5 James, “Count Magnus,” 175.

6 James, “Count Magnus,” 175-176.

7 James, “Count Magnus,” 176.

8 James, “Count Magnus,” 177.

9 James, “Count Magnus,” 179.

Introduction / Table of Contents / Encyclopedia of Pulp Heroes  /  Blog  /  Books  /  Patreon  /  Twitter  /  Contact me

• Give Us This Day
• Little Rock Scripture
• The Saint John's Bible
• Wisdom Commentary

The Pilgrimage of Egeria

A new translation of the itinerarium egeriae with introduction and commentary.

Anne McGowan and Paul F. Bradshaw

Anne McGowan is assistant professor of liturgy at Catholic Theological Union in Chicago. A graduate of the University of Notre Dame, she is the author of Eucharistic Epicleses, Ancient and Modern (Liturgical Press, 2014).

Paul F. Bradshaw is emeritus professor of liturgy at the University of Notre Dame. The author or editor of over thirty books and more than 120 articles and essays, he is also a past president of both the North American Academy of Liturgy and the international Societas Liturgica.

View our privacy policy here . You may unsubscribe at any time

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

«Nicola de Martoni e gli Itinera ad loca sancta: uno studio comparativo», in Rivista di Studi Indo-Mediterranei [plurilingual e-journal of literary, religious, historical studies, ISSN 2279-7025], VIII (2018)

This paper examines three specific aspects from the narrative of Liber peregrinationis ad Loca Sancta, written by Nicola de Martoni, a notary from Campania who journeyed to Egypt and the Holy Land in 1394-55. At first sight, his reports, geography and histories… are inaccurate, but he or his informants depend on some previous written and/or oral fonts that are rare and difficult to identify. From the analysis of references is probably that he spoke or understood Outremer French, lingua franca in the Latin East. This study, then, examines what medieval authors thought they knew about the travel literature in the European pilgrimage to the Holy Land, including Egypt and Sinai, relatively to ports of Alexandria, sacred rivers, Katherine of Alexandria and her presumed burial places or relics. Già in Archivi di Studi Indo-Mediterranei VIII, 2018 [ISSN 2279-8003], Carlo SACCONE & Alessandro GROSSATO (eds.), sez. Medioevo letterario e simbolico > Dante e la cultura mediterranea [16.05.2018]

Related Papers

Luca Gianni

Maria Gioia Tavoni

Il lettore è condotto, dalle opere che nel volume si descrivono, su un percorso in cui dato storico e documentale, pensiero e immaginazione si intrecciano inscindibilmente, stabilendo una solida correlazione tra la raccolta libraria qui pubblicata e la presenza dei francescani, che festeggiano con felice coincidenza, nel 2017, anno di stampa e pubblicazione del libro di Tedesco, l’ottocentesimo anniversario del loro arrivo in Terra Santa.

Eleonora Destefanis

Patrizia Serra

This article examines some sections of the Condaghe di San Nicola di Trullas, written in Logudorese Sardinian language in the late 12th and early 13th centuries, with the purpose to investigate its textual structures. The frequent use of direct speech shows the writers’ wish to dramatize the story so as to help the beholders to easily memorize and keep it in their minds. Key words: Condaghe, Medieval Sardinian Texts, direct speech.

eugenio burgio

Helga Di Giuseppe

Rosanna Bianco

Il saggio analizza la traslazione delle reliquie di San Nicola da Myra a Bari (Puglia, Italia) e il legame del Santo con il mare. Inoltre, il saggio prende in esame alcune testimonianze iconografiche dei miracoli compiuti da San Nicola sul mare e della traslazione, considerata soprattutto nel mondo orientale l’episodio finale della vita del Santo. This essay analyzes the translation of the relics of St. Nicholas from Myra to Bari (Puglia, Italy) and the connection of the Saint with the sea. Moreover, the essay examines some iconographic evidences of the miracles performed by St. Nicholas on the sea and of the translation, considered, especially in the East, the final episode of the saint's life.

Simone Albonico , Nicolas Bock

Luigi Canetti

Rocco Ronzani

―, Recensione a: Discendi studioso. Per i settant’anni di Marcello Marin, a cura di Maria Veronese et Vincenzo Lomiento (Auctores nostri. Studi e testi di letteratura cristiana antica, 22), Bari, Edipuglia, 2019, 521 pp., in Revue d’Histoire Ecclésiastique n. 117, 1-2 (2022), pp. 305-309. Il volume di Mario Resta, opera vincitrice della quarta edizione del Premio Edipuglia Renzo Ceglie, intende verificare il riflesso che realmente ebbero nel “vissuto” dei cristiani della tarda antichità gli strali e le precettive indicazioni pastorali dei vescovi e delle sinodi ecclesiastiche tardoantiche circa gli spettacoli e le manifestazioni coreutico-musicali, profondamente segnati dalla cultura e dalla religiosità pagane, tutt’altro che al loro definitivo tramonto. Il titolo dell’opera richiama una provocatoria domanda di Giovanni Crisostomo, tratta dalla sua accesa predicazione al popolo costantinopolitano alla fine del IV secolo (cf. Chrys., hom. in Io. 17, 4: PG 59, 112) ...

RELATED PAPERS

Jocelyne Robert

Sundu Brahmasandra

Dwindally Rosado-Rivera

edison rodriguez

Medical-Surgical Nursing Journal

hasan robabi

Buletin Studi Ekonomi

I Nengah Surati Jaya

Laura Monteiro Torres

Jiřina Hosáková

Selva Rivera

Clinical Psychology Review

Lisanne Warmerdam

Lecture Notes in Computer Science

qiaoli zhou

Journal of Vocational Rehabilitation

Mohammad Zirak

SHASHIKANT KAUSHALEY

Recent Advances in Tomato Breeding and Production

Michael Osei

Science (New York, N.Y.)

Paolo Botta

Araceli B. Gonzalez

Computational and Mathematical Methods in Medicine

British Journal of Pharmacology

MARIA AMPARO BLAZQUEZ

Journal of Geophysical Research: Biogeosciences

Jennifer Edmonds

Informação & Informação

valdir gomes

Aquaculture

Mahdi Naderi

International Journal for Numerical Methods in Engineering

A. Quarteroni

Revista Cidades

Carmelo Maria Porto

UofA认证办证成绩单 阿尔伯塔大学毕业证

Schizophrenia Research

Siobhan Schwaiger

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

Thietmar’s Liber Peregrinationis

Bibliographic Information

Medieval Title:          Liber peregrinationis

Author:                      Thietmar

Composition :

Recounts a pilgrimage to the Holy Land c. 1217-18 CE by a European likely from Westphalia in Germany

Textual Information

Brief Summary:       

The pilgrim recounts in detail his travels in the Holy Land and encounters with Muslims there. He mentions only the Cross relic but includes tales of Christian icons working across religious lines, the burning bush Moses saw being reverenced by both Christians and Muslims, the relics of St Catherine, and the Muslim pilgrimage to Mecca, His tone and description of Muslims varies from offensive to admiring, and he conveys a clear sense of Muslim control and power in the Holy Land, of the diversity of Christians there, and of various devotional objects and spaces revered there.

Passion Relics Appearing in Text: 

Manuscripts, Editions, and Translations

Manuscripts:            

18 manuscripts exist; some date from the thirteenth and fourteenth centuries. For a full list, see Röhricht, R. Bibliotheca Geographica Palaestinae: chronologisches Verzeichniss der auf die Geographie des Heiligen Landes bezüglichen Literatur von 333 bis 1878. Berlin: H. Reuther, 1890, p. 47.

List of Editions of the Medieval Text: 

Magistri Thietmari Historia de Dispositione Terre Sancte , ed. J.C.M. Laurent (Hamburg, 1852)

List of Translations of the Medieval Text: 

“Thietmar: Pilgrimage (1217-18). Trans Denys Pringle. In Pilgrimage to Jerusalem and the Holy Land, 1187-1291 . Farnham: Ashgate, 2012. Pp. 95-134.

Original Editions/Translations We Have Produced:        n/a

Relic Tales: A Descriptive Catalogue of Medieval Narratives Recounting the Circulation of Christian Passion Relics in Mixed Muslim-Christian Contexts Copyright © by Siobhain Calkin; Hisham Al Khatib; and Danielle Taylor. All Rights Reserved.

Share This Book

Liber peregrinationis Berlin, Staatsbibliothek lat. 4°.466 (sec. XIV inc.), ff. 1r-24r

 | 1ra |  Incipit liber peregrinationis fratris R(icculdi) ordinis Predicatorum.

Continentur autem in hoc libro sub brevitate regna gentes provintie leges ritus secte et hereses et mostra que inveni in partibus orientis ut fratres qui vellent laborem pro Christo adsummere pro fide dilatanda sciant quo<d> indigent et ubi et qualiter magis possunt proficere.

[1] Causa movens. Primum capitulum

Cum ego minimus in ordine Predicatorum recogitarem frequenter incomprehensibilitatem et intensionem divini amoris ad genus humanum, quia «sic Deus dilexit mundum ut Filium suum unigenitum daret» [ Io . 3,16], et ipse Altissimi Filius suam peregrinationem tam diligenter nobis ad memoriam reduceret ut ea non essemus ingrati, dicens «Exivi a Patre et veni in mundum» [ Io . 16,28], et quomodo etiam cito natus eciam pauper et parvulus nec sibi nec matri pepercit a longa et laboriosa peregrinatione set cum matre pauperi et sene baiulo peregrinatus est in Egiptum ut fugeret adversarios, cui non erat causa timoris, decrevi quod esset michi valde <??>aiosum quod ego per tot beneficia suscepta, qui solus Ipse novit, maxime quia me vocavit et segregavit de mundo et adsumpsit ad tantum ordinem ut essem testis et predicator ipsius, | 1rb | «cogitavi vias meas et converti pedes meos in testimonia tua» [ Ps . 118,59], cogitavi, inquam, non esse tutum quod ego longo tempore sederem et otiosus essem, et ut probarem aliquid de labore pauperis et longe peregrinationis, maxime cum in mente mea revolverem quam <lon>gas et laboriosas peregrinationes <adsump>seram adhuc secularis existens ut addiscerem illas seculares scientias quas liberales appellant.

[2] Peregrinatio. Secundum capitulum

Suscepta igitur obedientia domini papa mediante magistro ordinis, incipiens peregrinationem transivi mare ut loca illa corporaliter viderem que Christus corporaliter visitavit, et maxime locum in quo pro salute humani generis mori dignatus est, ut memoria passionis eius in mente mea imprimeretur tenacius, et sanguis Christi pro nostra salute effusus, esset michi robur et firmamentum ad predicandum et moriendum pro illo qui michi sua morte vitam donaverat.

[3] De Galilea

Veni igitur in Accon [ fine 1288 ], et inde itinere diei ivimus cum multis cristianis [ sic in extenso ] in Galileam et primo pervenimus - xx miliaria - ad Cana Galilee ubi Christus fecit initium signorum, aquam convertendo mutando in vinum. Est autem Cana Galilee quarto vel quinto miliario a Naçaret. Ibi extra casale invenimus puteum unde ministri auxerunt aquam implentes ydrias. Ibi invenimus locum nuptiarum et loca et formulas ydriarum. Ibi | 1va | cantavimus et predicavimus evangelium nuptiarum. Ibi rogavi Christum quod sicut aquam in vinum converterat ita aqua<m> mee insipiditatis et indevotionis converteret in vinum compunctionis et spiritualis saporis.

Inde recto cursu - xv miliaria - venimus ad casale Genesaret, quod est supra mare Galilee. Ibi in descensu montis supra mare cantavimus evangelium de illis duobus demoniacis quos Christus curavit ibi a legione demonum, quos Christus concessit intrare in porcos. Ibi rogavi Dominum quod me ab infestationibus demonum liberaret.

Inde descendimus - v miliaria - in Bessaydam, civitatem Andree et Petri, que est iuxta mare Galilee; et venimus iuxta mare et cantavimus ibi evangelium «Ambulans Iesus iuxta mare Galilee vidit duos fratres etc.» [ Mt . 4,18]. Ibi rogavi Christum quod me ad sanctum suum discipulatum vocaret et faceret piscatorem hominum.

Inde ascendimus - iij miliaria - ad montem qui est supra mare Galilee, ubi Dominus sedens sermonem ad discipulos fecit, et cantavimus evangelium «Videns Iesus turbas ascendit in montem etc.» [ Mt . 5,1]. Ibi rogavi Dominum quod me totaliter a desiderio terrenorum levaret et mentem meam ad celestia transferret.

Inde ascendimus - j miliarium - ibi prope ad montem ubi Dominus fecit convivium de quinque panibus | 1vb |  ordeaceis, et cantavimus evangelium et predicavimus. Et postea, sedentes per ordinem super herbam et fenum, fregimus panem et manducavimus omnes cum letitia et lacrimis. Ibi prope est cisterna vetus in quam proiecerunt Ioseph. Ibi etiam prope - x miliaria - est castrum Safet, clavis totius Galilee.

Inde descendimus - ij miliaria - in Cafarnaum et venimus ad locum ubi curavit leprosum, et postea ad locum ubi Matheus sedebat ad teloneum et accipiebat vectigalia. Et canta<vi>mus et predica<vi>mus evangelium de vocatione Mathei [ Mt . 9,9 ss].

Inde regirantes iuxta mare Galilee venimus - - ij miliaria - ad locum Tabula, que est inter Cafarnaum et Betsaydam, in loco ubi Dominus apparuit discipulis post resurrectionem stans in litore et vocavit eos de mari et invitavit eos ad prandendum. Et cantavimus et predicavimus evangelium, et manducavimus omnes ubi manducavit cum eis panem et piscem.

Inde regirantes iuxta mare Galilee versus Betsaydam et Genesar(et) venimus - vj miliaria - ad Magdalum, castellum Marie Magdalene iuxta stagnum Genesar(et). Et flentes et eyulantes pro eo quod invenimus ecclesiam pulcram non desctructam sed stabulatam, cantavimus et predicavimus evangelium Magdalene.

Inde venientes iuxta mare Tiberiadis venimus - v miliaria - ad | 2ra | civitatem Tyberiadem, et invenientes ibi multa memoria digna; inter alia hec notavi quod mare Tyberiadis tota aqua et in omni loco dulcissima est et suavissima ad potandum, cum tamen ex multis partibus intrent in eo aque fetentes et sulfuree et amarissime.

Inde vero ascendentes in montem altum ut veniremus ad altissimum montem Tabor, venimus - x miliaria - in Betuliam, parvulam civitatem Iudit, et ad pedes civitatis quievimus ad fogntem ad quam iudei obsessi ab Oloferne exibant ad refocillandum. Et transeuntes Bettuliam - v miliaria - ascendimus ad altissimum montem Tabor; ubi invenientes multas et magnas ecclesias dirutas, venimus ad locum altiorem ubi transfiguratus est Dominus. Et legimus evangelium de transfiguratione Domini et predicavimus flentes et admirantes de tanta destructione etc. Inde vidimus partem Arabie et montem ubi vel unde derivantur fontes Ior et Dan, qui initiant Iordanem. Inde vidimus montes Gelboe.

Ad pedes montis Tabor est campus magnus Esdrelon, qui dicitur planities vel campus fabarum; super quo, ex opposito montis Tabor, est parva civitas que vocatur Naym, ubi suscitavit Dominus filium vidue.

Transeuntes | 2rb | autem campum magnum Esdrelon et pertranseuntes Naym, festinavimus - xij miliaria - in Naçaret. Et adscendentes in montem, venimus ad saltum Domini, ubi iudei voluerunt precipitare Christum cum incepit eis legere et predicare. Ibi legimus et predicavimus evangelium. Ostendebant autem quedam vestigia pedum et itineris in saxo que dicebant esse vestigia pedum Christi.

[4] De Naxaret

Inde - ij miliaria - venimus in Naçaret et invenimus magnam ecclesiam quasi totam dirutam, et nichil erat ibi de primis edifitiis nisi sola cella ubi fuit annuntiata Domina; illam semper reservavit Domina ad memoriam humilitatis et paupertatis. Est autem ibi altare Domine in loco ubi orabat Domina quando missus est angelus Gabrihel ad eam, et altare arcangeli Gabrielis ubi stetit Gabriel annuntians. Et in utroque celeb<r>antes missas et predicantes verbum Dei circuivimus et perambulavimus civitatem, maxime loca illa que magis frequentabat Domina et puer Iesus. Invenimus ibi iuxta civitatem fontem qui est ibi in maxima veneratione pro eo quod Domina ibat aliquando ad fontem illum, et puer Iesus frequenter portabat inde aquam matri. Ivimus etiam ad sinagogam in qua legit Iesus Ysaiam prophetam.

Omnia ista loca Galilee, de primo usque ad ultimum, invenimus in possessione sarracenorum | 2va | pacifica et quieta.

De Naçaret venimus - xij miliaria - in castrum çafferanum , ubi natus est Iohannes evangelista et sanctus Iacobus, filii Zebedei. Ibi habitabant cristiani. Inde reversi - x miliaria - fuimus in Accon, civitatem cristianorum.

The Little Book of Black Venus attributed to John Dee

translated by Teresa Burns and Nancy Turner

This translation was made primarily from London’s Warburg Institute Ms. FBH 51 (written about 1600, +/- 20 years), following the comparison made by Jörg M. Meier between that handwritten manuscript and eight others, [1] especially Munich’s Bayerische Staatsbibliothek, Cod. lat. 27005 (17th century), Erlanger’s Universitätsbibliothek Erlangen-Nürnberg Ms. 854 (second half of the 17th century), and the 1794 Gedrucker text from Vienna. Except as noted, we’ve followed the Warburg copy except to regularize spelling or grammar (i.e., when it says “ pargamento ” (parchment), we’ve used the more typical spelling “ pergamento ”). Where no manuscript follows usual spelling or grammar we’ve used the Warburg manuscript, and we’ve also followed Meier’s transcription of capitalization and inter-paginal line breaks from that version.

Our frontispiece matches the general color scheme of the Warburg manuscript. With the exception of the frontispiece, we’ve used black and white text and graphics throughout because of the irregularity between manuscripts (for instance, the Munich manuscript’s frontispiece presents a Venus with green hair and a red hexagram.) [2] The Warburg manuscript writing appears dark brown, while its most colorful counterpart, the Munich manuscript, intersperses greens and reds throughout the black text: for instance, in the title, first four lines, and sub-title, this multi-colored version renders Libellus , in Astris , TUBA , Dæmon , and TUBA in red, and VENERI , VENUS , STYGIUS , and SIGN in green. [3] Given that even the Warburg manuscript is most likely not Dee’s handwriting, and the Munich version is a copy from later still, we found it most appropriate to leave the choice of colors to the reader’s magical or aesthetic understanding and keep our writing and graphics in black and white. Thank you to Darlene for providing the cover art, and J.S. Kupperman for recreating the manuscript’s many line drawings.

~~~~~~~~~~~~~~~~~~~~

Sigillum Veneris [ The Seal of Venus ]

Tuba Veneris [ The Horn of Venus ]

Forma Circuli [ Shape of the circle ]

Nomen primi Spiritus. Mogarip. Sigillum. [ The name of the first Spirit: Mogarip. The Seal. ]

Nomen secundi Spiritus. Amabosar. Sigillum. [ The name of the second Spirit: Amabosar. The Seal. ]

Nomen Tertij Spiritus. Alkyzub. Sigillum. [ The name of the third Spirit: Alkyzub. The Seal. ]

Nomen Quarti Spiritus. Belzazel. Sigillum. [ The Name of the Fourth Spirit: Belzazel. The Seal. ]

Nomen Quinti Spiritus: Falkaroth. Sigillum. [ The Name of the Fifth Spirit: Falkaroth. The Seal. ]

Nomen Sexti Spiritus: Mephgazub. Sigillum. [ The Name of the Sixth Spirit: Mephgazub. The Seal. ]

Visit us today at 314 Main St, Cambridge, MA 02142 Close this alert

On Warfare and the Threefold Path of the Jerusalem Pilgrimage: A Translation of Ralph Niger's de Re Militari Et Triplici Via Peregrinationis Ierosolim (Crusade Texts in Translation)

Description.

This volume will provide the first English translation of Ralph Niger's critical reflection on military pilgrimage, written in the late 1180s in response to the calling of the Third Crusade. Long known to scholars as early and highly idiosyncratic critique of crusading, On Warfare and the Threefold Path of the Jerusalem Pilgrimage provides a sustained reflection on penance, the meaning of Jerusalem, and the challenges of military expeditions to the Levant. After the fall of Jerusalem in 1187, Ralph resisted the calls to crusade and instead exhorted Christians to look inward and build Jerusalem in their hearts. Throughout the four books of the work, Ralph looks to scripture for precedents for crusading and finds none. However, by ranging widely over examples of Old Testament violence and considering the Heavenly and Earthly Jerusalem together, On Warfare offers a unique perspective on how the Bible informed contemporary views of the Crusades. Methodically examining pilgrimage through the lens of scripture, Ralph surveys the entire semantic field of crusading, and concludes that Christian knights could do more good by staying home than going on a military adventure to the Holy Land.

About the Author

John D. Cotts (PhD Berkeley, 2000) is a professor of history and the Chair of the Division of Social Sciences at Whitman College (USA). A cultural and intellectual historian of twelfth-century England and France, he has published two books: The Clerical Dilemma: Peter of Blois and Literate Culture in the Twelfth Century (2009), and Europe's Long Twelfth Century: Oder, Anxiety and Adaptation 1095-1229 (2013).

Other Books in Series

The Balkan Experience of the Ottoman Advance, 1371-1464: Crusade and Conquest (Crusade Texts in Translation)

The Latin Continuation of William of Tyre (Crusade Texts in Translation)

The Song of the Cathar Wars: A History of the Albigensian Crusade (Crusade Texts in Translation)

Walter the Chancellor's The Antiochene Wars: A Translation and Commentary (Crusade Texts in Translation #4)

Crusader Syria in the Thirteenth Century: The Rothelin Continuation of the History of William of Tyre with Part of the Eracles or Acre Text (Crusade Texts in Translation #5)

The Conquest of Jerusalem and the Third Crusade: Sources in Translation (Crusade Texts in Translation)

The Chronicle of Ibn al-Athir for the Crusading Period from al-Kamil fi'l-Ta'rikh. Part 3: The Years 589-629/1193-1231: The Ayyubids after Saladin and (Crusade Texts in Translation)

History of the Dukes of Normandy and the Kings of England by the Anonymous of Béthune (Crusade Texts in Translation)

The Conquest of the Holy Land by Ṣalāḥ Al-Dīn: A Critical Edition and Translation of the Anonymous Libellus de Expugnatione Terr (Crusade Texts in Translation)

The Chanson des Chétifs and Chanson de Jérusalem: Completing the Central Trilogy of the Old French Crusade Cycle (Crusade Texts in Translation)

The Gesta Tancredi of Ralph of Caen: A History of the Normans on the First Crusade (Crusade Texts in Translation)

The Chronicle of Arnold of Lübeck (Crusade Texts in Translation)

Chronicles of Qalāwūn and His Son Al-Ashraf Khalīl (Crusade Texts in Translation)

Letters from the East: Crusaders, Pilgrims and Settlers in the 12th-13th Centuries (Crusade Texts in Translation)

The Conquest of Santarém and Goswin's Song of the Conquest of Alcácer Do Sal: Editions and Translations of de Expugnatione Scalabis and Gosuini de Exp (Crusade Texts in Translation)

Marino Sanudo Torsello, the Book of the Secrets of the Faithful of the Cross: Liber Secretorum Fidelium Crucis (Crusade Texts in Translation)

Ibn Naẓīf's World-History: Al-Tā'rīkh Al-Manṣūrī (Crusade Texts in Translation)

You may also like.

Laughing Histories: From the Renaissance Man to the Woman of Wit

Unequal Cities: Overcoming Anti-Urban Bias to Reduce Inequality in the United States

On Juneteenth

Abolition and the Underground Railroad in South Jersey: Not Without a Fight (American Heritage)

On Tyranny: Twenty Lessons from the Twentieth Century

American Immigration: A Very Short Introduction (Very Short Introductions)

The Color of Law: A Forgotten History of How Our Government Segregated America

Two Sides of Glory: The 1986 Boston Red Sox in Their Own Words

YEAR 1: A Philosophical Recounting

The Ghosts of Gombe: A True Story of Love and Death in an African Wilderness

The Charles River: A History of Greater Boston's Waterway

Power Button: A History of Pleasure, Panic, and the Politics of Pushing

Tokyoids: The Robotic Face of Architecture

Crassus: The First Tycoon (Ancient Lives)

The Fifth Beginning: What Six Million Years of Human History Can Tell Us about Our Future

The Iguala 43: The Truth and Challenge of Mexico's Disappeared Students (Semiotext(e) / Intervention Series #20)

Atari to Zelda: Japan's Videogames in Global Contexts

The Truce: Progressives, Centrists, and the Future of the Democratic Party

Freakery: Cultural Spectacles of the Extraordinary Body

Restraint: A New Foundation for U.S. Grand Strategy (Cornell Studies in Security Affairs)

The Emigrants

The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon

The Chile Pepper in China: A Cultural Biography (Arts and Traditions of the Table: Perspectives on Culinary H)

Meet Me by the Fountain: An Inside History of the Mall

Dominoes Game Night: 65 Classic Games to Entertain and Excite

Killers of the Flower Moon (Movie Tie-in Edition): The Osage Murders and the Birth of the FBI

Detroit–Moscow–Detroit: An Architecture for Industrialization, 1917–1945

The Famous Lady Lovers: Black Women and Queer Desire Before Stonewall (Gender and American Culture)

Sign up to receive our newsletter.

News and information from Kendall Square's underground bookstore

Liber Resh vel Helios

These are the adorations to be performed by aspirants to the A∴A∴:

Hail unto Thee who art Ra in Thy rising, even unto Thee who art Ra in Thy strength, who travellest over the Heavens in Thy bark at the Uprising of the Sun.

Tahuti standeth in His splendour at the prow, and Ra-Hoor abideth at the helm.

Hail unto Thee from the Abodes of Night!

Hail unto Thee who art Ahathoor in Thy triumphing, even unto Thee who art Ahathoor in Thy beauty, who travellest over the heavens in thy bark at the Mid-course of the Sun.

Hail unto Thee from the Abodes of Morning!

Hail unto Thee who art Tum in Thy setting, even unto Thee who art Tum in Thy joy, who travellest over the Heavens in Thy bark at the Down-going of the Sun.

Hail unto Thee from the Abodes of Day!

Hail unto thee who art Khephra in Thy hiding, even unto Thee who art Khephra in Thy silence, who travellest over the heavens in Thy bark at the Midnight Hour of the Sun.

Hail unto Thee from the Abodes of Evening.

• And after each of these invocations thou shalt give the sign of silence, and afterward thou shalt perform the adoration that is taught thee by thy Superior. And then do thou compose Thyself to holy meditation.
• Also it is better if in these adorations thou assume the God-form of Whom thou adorest, as if thou didst unite with Him in the adoration of That which is beyond Him.
• Thus shalt thou ever be mindful of the Great Work which thou hast undertaken to perform, and thus shalt thou be strengthened to pursue it unto the attainment of the Stone of the Wise, the Summum Bonum, True Wisdom and Perfect Happiness.

Ra, pronounced "rah" or "rey" is one of the many aspects of the Egyptian sun-god. Here associated with the rising sun, he is more often associated with the sun at mid-day.

Khepra, or Khepri, is associated with the dung beetle. In Egyptian mythology, he pushed the sun through the underworld during the "solid hours" of the night. Khepri is also Ra's young form. His name in Egyptian means "to come into being". As such, he is more usually associated with the dawning sun, which here is ascribed to Ra.

• Our privacy policy
• What are Thelemites?
• Lesser Pentagram Ritual
• Lesser Hexagram Ritual
• Star Sapphire
• Banishing the Sephiroth
• Her Meeting With Us
• Jurgen Mass
• St. Swithin
• Introduction
• Theory of Universe
• Principles of Ritual
• Elemental Weapons
• Tetragrammaton
• Alhim and Alim
• The Neophyte
• The Holy Graal
• Equilibrium
• Silence and Secrecy
• Our Lady Babalon
• The Bloody Sacrifice
• Consecrations
• Oath; Charge to the Spirit
• Licence to Depart
• Clairvoyance, Body of Light
• Dramatic Rituals
• Eucharist and Alchemy
• Black Magic
• Appendix II
• Appendix III
• Appendix IV
• Appendix VI
• A∴A∴ document classes
• Liber AL Commentary
• The Signs of L.V.X.
• The Signs of N.O.X.
• The Adoration to the Sun
• The Judges of the Dead
• Magical Diary
• Pentagram Rituals
• Eucharist Rituals
• Hexagram Rituals
• Holy Guardian Angel
• Bibliography
• The Inverted Essence [PDF]
• Understanding is Transcendent
• The Clearing of Being
• The Self as Noumenon
• Fichte's Vedanta
• Freedom and Spirit
• Analysis of the Keyword
• Qabalistic Cross
• Adeptus (Extremely) Minor
• The Gnostic Creed
• Advertising and Government
• Killing Me Softly
• All About Religion
• The Will to Power
• Saturn 2002
• Saturn 2011
• Jupiter 2001
• Mercury 1997
• Mercury 2001
• Mercury 2008
• Bibliomancy
• Resh Times/Tides
• I Ching hexagrams

login    cancel

monsieur_etranger

• Report Abuse

© 2014 Myspace LLC. All rights reserved

monsieur_etranger Albums LIBER NIGRAE PEREGRINATIONIS.A.D.MMX

Seqventia (ii.liber nigrae peregrinatio).

• NAME COMPOSER TIME PLAYS
• monsieur_etranger " data-album-id="16360143" data-album-title="LIBER NIGRAE PEREGRINATIONIS.A.D.MMX" data-album-url="/monsieur_etranger/music/album/liber-nigrae-peregrinationis.a.d.mmx-16360143" data-duration="737" data-formatted-duration="12:17" data-image-url="https://a4-images.myspacecdn.com/images03/31/4dd69da6f5c04803a285e0da86a58174/300x300.jpg" data-stream-url="rtmpe://fms.ec-music.myspacecdn.com/;mp4:music02/50/6b78164df2b0491b989e21bbab86c8ff/std.m4a" data-is-premium="false" data-is-explicit="false" data-is-full-length="true" data-genre-id="1002424" data-genre-name="Ambient" data-genre-radio-station-entity-key="radiostation_genre_1002424" data-media-id="72194261" data-media-type="audio" data-radio-station-entity-key="radiostation_song_72194261" data-uid="89b3c089-801d-4383-a0a9-3b35838d2d3c" data-entity-key="song_72194261" data-url="/monsieur_etranger/music/song/seqventia-ii.liber-nigrae-peregrinatio-72194261-79598979" data-artist-url="/monsieur_etranger/music" data-video-id="" data-embed-url="/play/song/seqventia-ii.liber-nigrae-peregrinatio-72194261-79598979" data-ads-prohibited="false" data-artist-username="monsieur_etranger" data-http-stream-url="http://l-music.myspacecdn.com:80/music02/50/6b78164df2b0491b989e21bbab86c8ff/std.m4a?t=1713070893_6c2a8c86be947d84425e10ed89f01df7" data-hls-stream-url="https://hls-music.myspacecdn.com/music02/50/6b78164df2b0491b989e21bbab86c8ff/std.m4a.m3u8?wlzqw4dJuxvT_EAnpllXXMz1qyIso8Gk0IXbmGDHAmgfULR2Okp79EIj9rhXEZ5xvknpD2yRTvHb-R4yv-Po8ZaTQzz9W7mKuDt1FeVw-kGNYJbDcL6zm-JgsK_8CbQ-qGwiVhwvYCWQJQ" data-rtmp-stream-url="rtmpe://fms.ec-music.myspacecdn.com/;mp4:music02/50/6b78164df2b0491b989e21bbab86c8ff/std.m4a"> SEQVENTIA (II.LIBER NIGRAE PEREGRINATIO) monsieur_etranger 12:17 9

Sign in to add a comment...

Search Myspace

DID YOU MEAN

Your search did not return any results. Please try again.

You're now in slide show mode.

Hitting < pauses the slideshow and goes back. Hitting > pauses the slideshow and goes forward. SPACEBAR resumes the slideshow. Press ESC to exit.

Sign in to Myspace

Use Facebook, Twitter or your email to sign in.

Don't have a Myspace account yet? No worries, joining is easy.

Forgot your password?

Password request sent.

Email or Username

Password Forgot login?

Join Myspace

Getting in is easy. Use one of your social networks or start fresh with an email address.

Already have a Myspace account? Sign in .

Join with your email address

You're almost ready....

We loaded your account with your Facebook details. Help us with just a few more questions.

You can always edit this or any other info in settings after joining.

We loaded your account with your Twitter details. Help us with just a few more questions.

Welcome to Myspace. Just start typing to find music.

Start radio, connecting to your webcam..

You may be prompted by your browser for permission.

• Journal Home
• About this Journal
• Seeking Submissions

Home > Academic Departments > Art History > PEREJOURNAL > Vol. 8 > Iss. 4 (2023)

The Liber scintillarum: Excerpting and Recomposing Textual and Artistic Traditions in the Early Middle Ages

Loretta Vandi , Independent Scholar

Recommended Citation

Vandi, Loretta. "The Liber scintillarum: Excerpting and Recomposing Textual and Artistic Traditions in the Early Middle Ages." Peregrinations: Journal of Medieval Art and Architecture 8, 4 (2023): 1-79. https://digital.kenyon.edu/perejournal/vol8/iss4/1

Since January 03, 2024

Included in

Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons

To view the content in your browser, please download Adobe Reader or, alternately, you may Download the file to your hard drive.

NOTE: The latest versions of Adobe Reader do not support viewing PDF files within Firefox on Mac OS and if you are using a modern (Intel) Mac, there is no official plugin for viewing PDF files within the browser window.

• Digital Kenyon
• Receive Email Notices or RSS

Advanced Search

ISSN: 1554-8678

Journal Home | Digital Kenyon | My Account | Accessibility Statement

Privacy Copyright

ANNAEI LUCANI - BELLUM CIVILE - LIBER I

Bēllă pĕr Ēmăthĭōs plūs quām cīvīlĭă cāmpōs,

iūsquĕ dătūm scĕlĕrī cănĭmūs, pŏpŭlūmquĕ pŏtēntēm

īn sŭă vīctrīcī cōnvērsūm vīscĕră dēxtrā,

cōgnātāsque ăcĭēs, ēt rūptō foēdĕrĕ rēgnī

cērtātūm tōtīs cōncūssī vīrĭbŭs ōrbīs

īn cōmmūnĕ nĕfās, īnfēstīsque ōbvĭă sīgnīs

sīgnă, părēs ăquĭlās ēt pīlă mĭnāntĭă pīlīs.

Quīs fŭrŏr, ō cīvēs, quaē tāntă lĭcēntĭă fērrī

gēntĭbŭs īnvīsīs Lătĭūm praēbērĕ crŭōrēm!

Cūmquĕ sŭpērbă fŏrēt Băbўlōn spōliāndă trŏpaēīs

Aūsŏnĭīs ūmbrāque ērrārēt Crāssŭs ĭnūltā,

bēllă gĕrī plăcŭīt nūllōs hăbĭtūră trĭūmphōs?

Heū quāntūm tērraē pŏtŭīt pĕlăgīquĕ părārī

hōc quēm cīvīlēs haūsērūnt sānguĭnĕ dēxtraē,

ūndĕ vĕnīt Tītān, ēt nōx ŭbĭ sīdĕră cōndīt,

quāquĕ dĭēs mĕdĭūs flāgrāntĭbŭs aēstŭăt hōrīs

ēt quā brūmă rĭgēns āc nēscĭă vērĕ rĕmīttī

āstrīngīt Scўthĭcūm glăcĭālī frīgŏrĕ pōntūm!

Sūb iŭgă iām Sērēs, iām bārbărŭs īssĕt Ărāxēs,

ēt gēns sī quă iăcēt nāscēntī cōnscĭă Nīlō.

Tūm, sī tāntŭs ămōr bēllī tĭbĭ, Rōmă, nĕfāndī,

tōtūm sūb Lătĭās lēgēs cūm mīsĕrĭs ōrbēm,

īn tē vērtĕ mănūs; nōndūm tĭbĭ dēfŭĭt hōstīs.

Āt nūnc sēmĭrŭtīs pēndēnt quōd moēnĭă tēctīs

ūrbĭbŭs Ītălĭaē lāpsīsque īngēntĭă mūrīs

sāxă iăcēnt nūllōquĕ dŏmūs cūstōdĕ tĕnēntūr

rārŭs ĕt āntīquīs hăbĭtātŏr ĭn ūrbĭbŭs ērrāt,

hōrrĭdă quōd dūmīs mūltōsque ĭnărātă pĕr ānnōs

Hēspĕrĭa ēst dēsūntquĕ mănūs pōscēntĭbŭs ārvīs,

nōn tū, Pŷrrhĕ fĕrōx, nēc tāntīs clādĭbŭs aūctōr

Poēnŭs ĕrīt; nūllī pĕnĭtūs dēscēndĕrĕ fērrō

cōntĭgĭt; āltă sĕdēnt cīvīlīs vūlnĕră dēxtraē.

Quōd sī nōn ălĭām vēntūrō fātă Nĕrōnī

īnvēnērĕ vĭām māgnōque aētērnă părāntūr

rēgnă dĕīs caēlūmquĕ sŭō sērvīrĕ Tŏnāntī

nōn nĭsĭ saēvōrūm pŏtŭīt pōst bēllă gĭgāntūm,

iām nĭhĭl, ō sŭpĕrī, quĕrĭmūr, scĕlĕra īstă nĕfāsquĕ

hāc mērcēdĕ plăcēnt; dīrōs Phārsālĭă cāmpōs

īmplĕăt ēt Poēnī sătŭrēntūr sānguĭnĕ mānēs;

ūltĭmă fūnēstā cōncūrrānt proēlĭă Mūndā;

hīs, Caēsār, Pĕrŭsīnă fămēs Mŭtĭnaēquĕ lăbōrēs

āccēdānt fātīs ēt quās prĕmĭt āspĕră clāssēs

Leūcăs ĕt ārdēntī sērvīlĭă bēllă sŭb Aētnā:

mūltūm Rōmă tămēn dēbēt cīvīlĭbŭs ārmīs,

quōd tĭbĭ rēs ācta ēst. Tē, cūm stătĭōnĕ pĕrāctā

āstră pĕtēs sērūs, praēlātī rēgĭă caēlī

ēxcĭpĭēt gaūdēntĕ pŏlō; seū scēptră tĕnērĕ,

seū tē flāmmĭgĕrōs Phoēbī cōnscēndĕrĕ cūrrūs,

tēllūrēmquĕ nĭhīl mūtātō sōlĕ tĭmēntēm

īgnĕ văgō lūstrārĕ iŭvēt, tĭbĭ nūmĭne ăb ōmnī

cēdētūr, iūrīsquĕ tŭī nātūră rĕlīnquēt,

quīs dĕŭs ēssĕ vĕlīs, ŭbĭ rēgnūm pōnĕrĕ mūndī.

Sēd nĕque ĭn ārctōō sēdēm tĭbĭ lēgĕrĭs ōrbĕ,

nēc pŏlŭs āvērsī călĭdūs quā vērgĭtŭr aūstrī,

ūndĕ tŭām vĭdĕās ōblīquō sīdĕrĕ Rōmām.

Aēthĕrĭs īmmēnsī pārtēm sī prēssĕrĭs ūnām,

sēntĭĕt āxĭs ŏnūs. Lībrātī pōndĕră caēlī

ōrbĕ tĕnē mĕdĭō; pārs aēthĕrĭs īllă sĕrēnī

tōtă văcēt, nūllaēque ōbstēnt ā Caēsărĕ nūbēs.

Tūm gĕnŭs hūmānūm pŏsĭtīs sĭbĭ cōnsŭlăt ārmīs,

īnquĕ vĭcēm gēns ōmnĭs ămēt; pāx mīssă pĕr ōrbēm

fērrĕă bēllĭgĕrī cōmpēscāt līmĭnă Iānī.

Sēd mĭhĭ iām nūmēn, nēc, sī tē pēctŏrĕ vātēs

āccĭpĭō, Cīrrhaēă vĕlīm sēcrētă mŏvēntēm

sōllĭcĭtārĕ dĕūm Bācchūmque āvērtĕrĕ Nŷsā:

tū sătĭs ād vīrēs Rōmāna īn cārmĭnă dāndās.

Fērt ănĭmūs caūsās tāntārum ēxprōmĕrĕ rērūm,

īmmēnsūmque ăpĕrītŭr ŏpūs, quĭd ĭn ārmă fŭrēntēm

īmpŭlĕrīt pŏpŭlūm, quīd pācem ēxcūssĕrĭt ōrbī:

īnvĭdă fātōrūm sĕrĭēs sūmmīsquĕ nĕgātūm

stārĕ dĭū nĭmĭōquĕ grăvēs sūb pōndĕrĕ lāpsūs

nēc sē Rōmă fĕrēns. Sīc cūm cōmpāgĕ sŏlūtā

saēcŭlă tōt mūndī sūprēmă cŏēgĕrĭt hōră,

āntīquūm rĕpĕtēns ĭtĕrūm chăŏs, ōmnĭă mīxtīs

sīdĕră sīdĕrĭbūs cōncūrrēnt, īgnĕă pōntūm

āstră pĕtēnt, tēllūs ēxtēndĕrĕ lītŏră nōlēt

ēxcĭpĭētquĕ frĕtūm, frātrī cōntrārĭă Phoēbē

ībĭt ĕt ōblīquūm bīgās ăgĭtārĕ pĕr ōrbēm

īndīgnātă dĭēm pōscēt sĭbĭ, tōtăquĕ dīscōrs

māchĭnă dīvūlsī tūrbābīt foēdĕră mūndī.

Īn sē māgnă rŭūnt; laētīs hūnc nūmĭnă rēbūs

crēscēndī pŏsŭērĕ mŏdūm. Nēc gēntĭbŭs ūllīs

cōmmŏdăt īn pŏpŭlūm tērraē pĕlăgīquĕ pŏtēntēm

īnvĭdĭām Fōrtūnă sŭām: tū caūsă mălōrūm

fāctă trĭbūs dŏmĭnīs cōmmūnīs, Rōmă, nĕc ūmquām

īn tūrbām mīssī fērālĭă foēdĕră rēgnī.

Ō mălĕ cōncōrdēs nĭmĭāquĕ cŭpīdĭnĕ caēcī!

Quīd mīscēre iŭvāt vīrēs ōrbēmquĕ tĕnērĕ

īn mĕdĭō? Dūm tērră frĕtūm tērrāmquĕ lĕvābīt

āēr ēt lōngī vōlvēnt Tītānă lăbōrēs

nōxquĕ dĭēm caēlō tŏtĭdēm pēr sīgnă sĕquētūr,

nūllă fĭdēs rēgnī sŏcĭīs, ōmnīsquĕ pŏtēstās

īmpătĭēns cōnsōrtĭs ĕrīt. Nēc gēntĭbŭs ūllīs

crēdĭtĕ, nēc lōngē fātōrum ēxēmplă pĕtāntūr:

frātērnō prīmī mădŭērūnt sānguĭnĕ mūrī.

Nēc prĕtĭūm tāntī tēllūs pōntūsquĕ fŭrōrīs

tūnc ĕrăt: ēxĭgŭūm dŏmĭnōs cōmmīsĭt ăsŷlūm.

Tēmpŏrĭs āngūstī mānsīt cōncōrdĭă dīscōrs,

pāxquĕ fŭīt nōn spōntĕ dŭcūm; nām sōlă fŭtūrī

Crāssŭs ĕrāt bēllī mĕdĭūs mŏră. Quālĭtĕr ūndās

quī sĕcăt ēt gĕmĭnūm grăcĭlīs mărĕ sēpărăt Īsthmōs

nēc pătĭtūr cōnfērrĕ frĕtūm, sī tērră rĕcēdāt,

Iōnīum Aēgaēō frāngēt mărĕ: sīc ŭbĭ saēvă

ārmă dŭcūm dĭrĭmēns mĭsĕrāndō fūnĕrĕ Crāssūs

Āssўrĭās Lătĭō măcŭlāvīt sānguĭnĕ Cārrhās,

Pārthĭcă Rōmānōs sōlvērūnt dāmnă fŭrōrēs.

Plūs īllā vōbīs ăcĭē quām crēdĭtĭs āctūmst,

Ārsăcĭdaē: bēllūm vīctīs cīvīlĕ dĕdīstīs.

Dīvĭdĭtūr fērrō rēgnūm, pŏpŭlīquĕ pŏtēntīs,

quaē mărĕ, quaē tērrās, quaē tōtūm pōssĭdĕt ōrbēm

nōn cēpīt fōrtūnă dŭōs. Nām pīgnŏră iūnctī

sānguĭnĭs ēt dīrō fērālēs ōmĭnĕ taēdās

ābstŭlĭt ād mānēs Pārcārūm Iūlĭă saēvā

īntērcēptă mănū. Quōd sī tĭbĭ fātă dĕdīssēnt

māiōrēs īn lūcĕ mŏrās, tū sōlă fŭrēntēm

īndĕ vĭrūm pŏtĕrās ātque hīnc rĕtĭnērĕ părēntēm

ārmātāsquĕ mănūs ēxcūssō iūngĕrĕ fērrō,

ūt gĕnĕrōs sŏcĕrīs mĕdĭaē iūnxērĕ Săbīnaē.

Mōrtĕ tŭā dīscūssă fĭdēs, bēllūmquĕ mŏvērĕ

pērmīssūm dŭcĭbūs. Stĭmŭlōs dĕdĭt aēmŭlă vīrtūs:

tū, nŏvă nē vĕtĕrēs ōbscūrēnt āctă trĭūmphōs

ēt vīctīs cēdāt pīrātĭcă laūrĕă Gāllīs,

Māgnĕ, tĭmēs; tē iām sĕrĭēs ūsūsquĕ lăbōrūm

ērĭgĭt īmpātiēnsquĕ lŏcī fōrtūnă sĕcūndī.

Nēc quēmquām iām fērrĕ pŏtēst Caēsārvĕ prĭōrēm

Pōmpĕĭūsvĕ părēm. Quīs iūstĭŭs īndŭĭt ārmă?

scīrĕ nĕfās; māgnō sē iūdĭcĕ quīsquĕ tŭētūr:

vīctrīx caūsă dĕīs plăcŭīt, sēd vīctă Cătōnī.

Nēc cŏĭērĕ părēs. Āltēr vērgēntĭbŭs ānnīs

īn sĕnĭūm lōngōquĕ tŏgaē trānquīllĭŏr ūsū

dēdĭdĭcīt iām pācĕ dŭcēm, fāmaēquĕ pĕtītōr

mūltă dăre īn vūlgūs, tōtūs pŏpŭlārĭbŭs aūrīs

īmpēllī, plaūsūquĕ sŭī gaūdērĕ thĕātrī,

nēc rĕpărārĕ nŏvās vīrēs, mūltūmquĕ prĭōrī

crēdĕrĕ fōrtūnaē. Stāt, māgnī nōmĭnĭs ūmbră,

quālīs frūgĭfĕrō quērcūs sūblīmĭs ĭn āgrō

ēxŭvĭās vĕtĕrīs pŏpŭlī sācrātăquĕ gēstāns

dōnă dŭcūm; nēc iām vălĭdīs rādīcĭbŭs haērēt,

pōndĕrĕ fīxă sŭo ēst, nūdōsquĕ pĕr āĕră rāmōs

ēffūndēns, trūncō nōn frōndĭbŭs ēffĭcĭt ūmbrām;

sēd quāmvīs prīmō nūtēt cāsūră sŭb Eūrō,

tōt cīrcūm sīlvaē fīrmō sē rōbŏrĕ tōllānt,

sōlă tămēn cŏlĭtūr. Sēd nōn īn Caēsărĕ tāntūm

nōmĕn ĕrāt nēc fāmă dŭcīs, sēd nēscĭă vīrtūs

stārĕ lŏcō, sōlūsquĕ pŭdōr nōn vīncĕrĕ bēllō;

ācĕr ĕt īndŏmĭtūs, quō spēs quōque īră vŏcāssēt

fērrĕ mănum, ēt nūmquām tĕmĕrāndō pārcĕrĕ fērrō,

sūccēssūs ūrgērĕ sŭōs, īnstārĕ făvōrī

nūmĭnĭs, īmpēllēns quīdquīd sĭbĭ sūmmă pĕtēntī

ōbstārēt, gaūdēnsquĕ vĭām fēcīssĕ rŭīnā.

Quālĭtĕr ēxprēssūm vēntīs pēr nūbĭlă fūlmēn

aēthĕrĭs īmpūlsī sŏnĭtū mūndīquĕ frăgōrĕ

ēmĭcŭīt rūpītquĕ dĭēm pŏpŭlōsquĕ păvēntēs

tērrŭĭt ōblīquā praēstrīngēns lūmĭnă flāmmā;

īn sŭă tēmplă fŭrīt, nūllāque ēxīrĕ vĕtāntĕ

mātĕrĭā māgnāmquĕ cădēns māgnāmquĕ rĕvērtēns

dāt strāgēm lātē spārsōsquĕ rĕcōllĭgĭt īgnēs.

Haē dŭcĭbūs caūsaē; sŭbĕrānt sēd pūblĭcă bēllī

sēmĭnă, quaē pŏpŭlōs sēmpēr mērsērĕ pŏtēntēs.

Nāmque ŭt ŏpēs nĭmĭās mūndō fōrtūnă sŭbāctō

īntŭlĭt, ēt rēbūs mōrēs cēssērĕ sĕcūndīs,

praēdăque ĕt hōstīlēs lūxūm sŭăsērĕ răpīnaē,

nōn aūrō tēctīsvĕ mŏdūs, mēnsāsquĕ prĭōrēs

āspērnātă fămēs; cūltūs gēstārĕ dĕcōrōs

vīx nŭrĭbūs răpŭērĕ mărēs; fēcūndă vĭrōrūm

paūpērtās fŭgĭtūr, tōtōque āccērsĭtŭr ōrbĕ

quō gēns quaēquĕ pĕrīt: tūnc lōngōs iūngĕrĕ fīnēs

āgrōrum, ēt quōndām dūrō sūlcātă Cămīllī

vōmĕre ĕt āntīquōs Cŭrĭōrūm pāssă lĭgōnēs

lōngă sŭb īgnōtīs ēxtēndĕrĕ rūră cŏlōnīs.

Nōn ĕrăt īs pŏpŭlūs quēm pāx trānquīllă iŭvārēt,

quēm sŭă lībērtās īmmōtīs pāscĕrĕt ārmīs.

Īnde īraē făcĭlēs ēt, quōd suāsīssĕt ĕgēstās,

vīlĕ nĕfās māgnūmquĕ dĕcūs fērrōquĕ pĕtēndūm

plūs pătrĭā pŏtŭīssĕ sŭā, mēnsūrăquĕ iūrīs

vīs ĕrăt; hīnc lēgēs ēt plēbīs scītă cŏāctaē

ēt cūm cōnsŭlĭbūs tūrbāntēs iūră trĭbūnī;

hīnc rāptī fāscēs prĕtĭō sēctōrquĕ făvōrīs

īpsĕ sŭī pŏpŭlūs lētālīsque āmbĭtŭs Ūrbī

ānnŭă vēnālī rĕfĕrēns cērtāmĭnă Cāmpō;

hīnc ūsūră vŏrāx ăvĭdūmque īn tēmpŏră faēnūs

ēt cōncūssă fĭdēs ēt mūltīs ūtĭlĕ bēllūm.

Iām gĕlĭdās Caēsār cūrsū sŭpĕrāvĕrăt Ālpēs

īngēntīsque ānīmŏ mŏtūs bēllūmquĕ fŭtūrūm

cēpĕrăt. Ūt vēntum ēst pārvī Rŭbĭcōnĭs ăd ūndās,

īngēns vīsă dŭcī pătrĭaē trĕpĭdāntĭs ĭmāgō

clāră pĕr ōbscūrām vūltū maēstīssĭmă nōctēm,

tūrrĭgĕrō cānōs ēffūndēns vērtĭcĕ crīnēs,

caēsărĭē lăcĕrā nūdīsque ādstārĕ lăcērtīs

ēt gĕmĭtū pērmīxtă lŏquī: "Quō tēndĭtĭs ūltrā?

quō fērtīs mĕă sīgnă, vĭrī? sī iūrĕ vĕnītīs,

sī cīvēs, hūc ūsquĕ lĭcēt." Tūnc pērcŭlĭt hōrrōr

mēmbră dŭcīs, rĭgŭērĕ cŏmaē, grēssūmquĕ cŏhērcēns

lānguŏr ĭn ēxtrēmā tĕnŭīt vēstīgĭă rīpā.

Mox ait: "O magnae qui moenia prospicis urbis

Tārpĕĭā dē rūpĕ, Tŏnāns, Phrўgĭīquĕ pĕnātēs

gēntĭs Ĭūlēae ēt rāptī sēcrētă Quĭrīnī

ēt rĕsĭdēns cēlsā Lătĭārīs Iūppĭtĕr Ālbā

Vēstālēsquĕ fŏcī sūmmīque ō nūmĭnĭs īnstār,

Rōmă, făvē coēptīs; nōn tē fŭrĭālĭbŭs ārmīs

pērsĕquŏr; ēn ādsūm, vīctōr tērrāquĕ mărīquĕ,

Caēsăr, ŭbīquĕ tŭūs (lĭcĕāt mŏdŏ), nūnc quŏquĕ, mīlēs.

Īlle ĕrĭt, īllĕ nŏcēns, quī mē tĭbĭ fēcĕrĭt hōstēm."

Īndĕ mŏrās sōlvīt bēllī tŭmĭdūmquĕ pĕr āmnēm

sīgnă tŭlīt prŏpĕrē; sīc ūt squālēntĭbŭs ārvīs

aēstĭfĕraē Lĭbўēs vīsō lĕŏ cōmmĭnŭs hōstĕ

sūbsēdīt dŭbĭūs, tōtām dūm cōllĭgĭt īrām;

mōx ŭbĭ sē saēvaē stĭmŭlāvīt vērbĕrĕ caūdaē

ērēxītquĕ iŭbam ēt vāstō grăvĕ mūrmŭr hĭātū

īnfrĕmŭīt, tūnc, tōrtă lĕvīs sī lāncĕă Maūrī

haērĕăt aūt lātūm sŭbĕānt vēnābŭlă pēctūs,

pēr fērrūm tāntī sēcūrūs vūlnĕrĭs ēxīt.

Fōntĕ cădīt mŏdĭcō pārvīsque īmpēllĭtŭr ūndīs

pūnīceūs Rŭbĭcōn, cūm fērvĭdă cāndŭĭt aēstās,

pērque īmās sērpīt vāllēs ēt Gāllĭcă cērtūs

līmĕs ăb Aūsŏnĭīs dīstērmĭnăt ārvă cŏlōnīs.

Tūm vīrēs praēbēbăt hĭēms, ātque aūxĕrăt ūndās

tērtĭă iām grăvĭdō plŭvĭālīs Cŷnthĭă cōrnū

ēt mădĭdīs eūrī rĕsŏlūtaē flātĭbŭs Ālpēs.

Prīmŭs ĭn ōblīquūm sŏnĭpēs ōppōnĭtŭr āmnēm

ēxcēptūrŭs ăquās; mōllī tūm cētĕră rūmpīt

tūrbă vădō făcĭlēs iām frāctī flūmĭnĭs ūndās.

Caēsăr, ŭt ādvērsām sŭpĕrātō gūrgĭtĕ rīpām

āttĭgĭt Hēspĕrĭaē vĕtĭtīs ēt cōnstĭtĭt ārvīs,

"Hīc," ăĭt "hīc pācēm tĕmĕrātăquĕ iūră rĕlīnquō;

tē, Fōrtūnă, sĕquōr; prŏcŭl hīnc iām foēdĕră sūntō.

Crēdĭdĭmūs fātīs, ūtēndum ēst iūdĭcĕ bēllō."

Sīc fātūs nōctīs tĕnĕbrīs răpĭt āgmĭnă dūctōr

īmpĭgĕr; īt tōrtō Bălĕārīs vērbĕrĕ fūndaē

ōcĭŏr ēt mīssā Pārthī pōst tērgă săgīttā

vīcīnūmquĕ mĭnāx īnvādĭt Ărīmĭnum, ĕt īgnēs

sōlīs lūcĭfĕrō fŭgĭēbānt āstră rĕlīctō.

Iāmquĕ dĭēs prīmōs bēllī vīsūră tŭmūltūs

ēxŏrĭtūr; seū spōntĕ dĕūm, seū tūrbĭdŭs aūstēr

īmpŭlĕrāt, maēstām tĕnŭērūnt nūbĭlă lūcēm.

Cōnstĭtĭt ūt cāptō iūssūs dēpōnĕrĕ mīlēs

sīgnă fŏrō, strīdōr lĭtŭūm clāngōrquĕ tŭbārūm

nōn pĭă cōncīnvīt cūm raūcō clāssĭcă cōrnū.

Rūptă quĭēs pŏpŭlī, strātīsque ēxcītă iŭvēntūs

dērĭpŭīt sācrīs ādfīxă pĕnātĭbŭs ārmă

quaē pāx lōngă dăbāt; nūdā iām crātĕ flŭēntīs

īnvādūnt clĭpĕōs cūrvātăquĕ cūspĭdĕ pīlă

ēt scābrōs nīgraē mōrsū rōbīgĭnĭs ēnsēs.

Vt nōtaē fūlsēre ăquĭlaē Rōmānăquĕ sīgnă

ēt cēlsūs mĕdĭō cōnspēctŭs ĭn āgmĭnĕ Caēsār,

dērĭgŭērĕ mĕtū; gĕlĭdūs păvŏr ōccŭpăt ārtūs,

ēt tăcĭtō mūtōs vōlvūnt īn pēctŏrĕ quēstūs:

"Ō mălĕ vīcīnīs haēc moēnĭă cōndĭtă Gāllīs,

ō trīstī dāmnātă lŏcō! pāx āltă pĕr ōmnīs

ēt trānquīllă quĭēs pŏpŭlōs; nōs praēdă fŭrēntūm

prīmăquĕ cāstră sŭmūs. Mĕlĭūs, Fōrtūnă, dĕdīssēs

ōrbĕ sŭb ēōō sēdēm gĕlĭdāquĕ sŭb ārctō

ērrāntēsquĕ dŏmōs, Lătĭī quām claūstră tŭērī.

Nōs prīmī Sĕnŏnūm mōtūs Cīmbrūmquĕ fŭrēntēm

vīdĭmŭs ēt Mārtēm Lĭbўēs cūrsūmquĕ fŭrōrīs

Teūtŏnĭcī; quŏtĭēns Rōmām fōrtūnă lăcēssīt,

hāc ĭtĕr ēst bēllīs." Gĕmĭtū sīc quīsquĕ lătēntī,

nōn aūsūs tĭmŭīssĕ pălām; vōx nūllă dŏlōrī

crēdĭtă; sēd quāntūm, vŏlŭcrēs cūm brūmă cŏhērcēt,

rūră sĭlēnt mĕdĭūsquĕ tăcēt sĭnĕ mūrmŭrĕ pōntūs,

tāntă quĭēs. Nōctīs gĕlĭdās lūx sōlvĕrăt ūmbrās,

ēccĕ făcēs bēllī dŭbĭaēque īn proēlĭă mēntī

ūrguēntēs āddūnt stĭmŭlōs cūnctāsquĕ pŭdōrīs

rūmpūnt fātă mŏrās; iūstōs fōrtūnă lăbōrāt

ēssĕ dŭcīs mōtūs ēt caūsās īnvĕnĭt ārmīs:

ēxpŭlĭt āncĭpĭtī dīscōrdēs Ūrbĕ trĭbūnōs

vīctō iūrĕ mĭnāx iāctātīs cūrĭă Grācchīs.

Hōs iām mōtă dŭcīs vīcīnăquĕ sīgnă pĕtēntēs

aūdāx vēnālī cŏmĭtātūr Cūrĭŏ līnguā,

vōx quōndām pŏpŭlī lībērtātēmquĕ tŭērī

aūsŭs ĕt ārmātōs plēbī mīscērĕ pŏtēntēs.

Vtquĕ dŭcēm vărĭās vōlvēntēm pēctŏrĕ cūrās

cōnspēxīt: "Dūm vōcĕ tŭaē pŏtŭērĕ iŭvārī,

Caēsăr," ăīt "pārtēs, quămŭīs nōlēntĕ sĕnātū,

trāxĭmŭs īmpĕrĭūm, tūnc cūm mĭhĭ rōstră tĕnērĕ

iūs ĕrăt ēt dŭbĭōs īn tē trānsfērrĕ Quĭrītēs

Āt pōstquām lēgēs bēllō sīlvērĕ cŏāctaē,

pēllĭmŭr ē pătrĭīs lărĭbūs pătĭmūrquĕ vŏlēntēs

ēxĭlĭūm; tŭă nōs făcĭēt vīctōrĭă cīvēs.

Dūm trĕpĭdānt nūllō fīrmātaē rōbŏrĕ pārtēs,

tōllĕ mŏrās; sēmpēr nŏcŭīt dīffērrĕ părātīs.

Pār lăbŏr ātquĕ mĕtūs prĕtĭō māiōrĕ pĕtūntūr:

bēllāntēm gĕmĭnīs tĕnŭīt tē Gāllĭă lūstrīs,

pārs quŏtă tērrārūm? Făcĭlī sī proēlĭă paūcă

gēssĕrĭs ēvēntū, tĭbĭ Rōmă sŭbēgĕrĭt ōrbēm

Nūnc nĕquĕ tē lōngī rĕmĕāntēm pōmpă trĭūmphī

ēxcĭpĭt, aūt sācrās pōscūnt Căpĭtōlĭă laūrūs;

līvŏr ĕdāx tĭbĭ cūnctă nĕgāt, gēntēsquĕ sŭbāctās

vīx īmpūnĕ fĕrēs. Sŏcĕrūm dēpēllĕrĕ rēgnō

dēcrētūm gĕnĕro ēst; pārtīrī nōn pŏtĕs ōrbēm,

sōlŭs hăbērĕ pŏtēs." Sīc pōstquām fātŭs, ĕt īpsī

īn bēllūm prōnō tāntūm tămĕn āddĭdĭt īraē

āccēndītquĕ dŭcēm, quāntūm clāmōrĕ iŭvātūr

Ēleūs sōnīpēs, quămŭīs iām cārcĕrĕ claūsō

īmmĭnĕāt fŏrĭbūs prōnūsquĕ rĕpāgŭlă lāxēt.

Cōnvŏcăt ārmātōs ēxtēmplo ād sīgnă mănīplōs,

ūtquĕ sătīs trĕpĭdūm tūrbā coēūntĕ tŭmūltūm

cōmpŏsŭīt vūltū dēxtrāquĕ sĭlēntĭă iūssīt:

"Bēllōrum ō sŏcĭī, quī mīllĕ pĕrīcŭlă Mārtīs

mēcum" ăĭt "ēxpērtī dĕcĭmō iām vīncĭtĭs ānnō,

hōc crŭŏr ārctōīs mĕrŭīt dīffūsŭs ĭn ārvīs

vūlnĕrăque ēt mōrtēs hĭĕmēsquĕ sŭb Ālpĭbŭs āctaē?

Nōn sĕcŭs īngēntī bēllōrūm Rōmă tŭmūltū

cōncŭtĭtūr quām sī Poēnūs trānscēndĕrĭt Ālpēs

Hānnĭbăl: īmplēntūr vălĭdaē tīrōnĕ cŏhōrtēs;

īn clāssēm cădĭt ōmnĕ nĕmūs; tērrāquĕ mărīquĕ

iūssūs Caēsăr ăgī. Quīd? Sī mĭhĭ sīgnă iăcērēnt

Mārtĕ sŭb ādvērsō rŭĕrēntque īn tērgă fĕrōcēs

Gāllōrūm pŏpŭlī? Nūnc cūm fōrtūnă sĕcūndīs

mēcūm rēbŭs ăgāt sŭpĕrīque ād sūmmă vŏcāntēs,

tēntāmūr. Vĕnĭāt lōngā dūx pācĕ sŏlūtūs

mīlĭtĕ cūm sŭbĭtō pārtēsque īn bēllă tŏgātaē

Mārcēllūsquĕ lŏquāx ēt nōmĭnă vānă, Cătōnēs.

Scīlĭcĕt ēxtrēmī Pōmpēium ēmptīquĕ clĭēntēs

cōntĭnŭō pēr tōt sătĭābūnt tēmpŏră rēgnō!

Īllĕ rĕgēt cūrrūs nōndūm pătĭēntĭbŭs ānnīs;

īllĕ sĕmēl rāptōs nūmquām dīmīttĕt hŏnōrēs.

Quīd iām rūră quĕrār tōtūm sūbprēssă pĕr ōrbēm

āc iūssām sērvīrĕ fămēm? quīs cāstră tĭmēntī

nēscīt mīxtă fŏrō, glădĭī cūm trīstĕ mĭcāntēs

iūdĭcĭum īnsŏlĭtā trĕpĭdūm cīnxērĕ cŏrōnā,

ātque aūsō mĕdĭās pērrūmpĕrĕ mīlĭtĕ lēgēs,

Pōmpēiānă rĕūm claūsērūnt sīgnă Mĭlōnēm?

Nūnc quŏquĕ nē lāssūm tĕnĕāt prīvātă sĕnēctūs,

bēllă nĕfāndă părāt suētūs cīvīlĭbŭs ārmīs

ēt dŏcĭlīs Sūllām scĕlĕrūm vīcīssĕ măgīstrūm;

ūtquĕ fĕraē tīgrēs nūmquām pŏsŭērĕ fŭrōrēm,

quās nĕmŏre Hŷrcānō, mātrūm dūm lūstră sĕquūntūr,

āltūs caēsōrūm pāvīt crŭŏr ārmēntōrūm,

sīc ēt Sūllānūm sŏlĭtō tĭbĭ lāmbĕrĕ fērrūm

dūrāt, Māgnĕ, sĭtīs. nūllūs sĕmĕl ōrĕ rĕcēptūs

pōllūtās pătĭtūr sānguīs mānsuēscĕrĕ faūcēs.

Quēm tămĕn īnvĕnĭēt tām lōngă pŏtēntĭă fīnēm?

Quīs scĕlĕrūm mŏdŭs ēst? ēx hōc iām te, īmprŏbĕ, rēgnō

īllĕ tŭūs sāltēm dŏcĕāt dēscēndĕrĕ Sūllă.

Pōst Cĭlĭcāsnĕ văgōs ēt lāssī Pōntĭcă rēgīs

proēlĭă bārbărĭcō vīx cōnsūmmātă vĕnēnō

ūltĭmă Pōmpĕĭō dăbĭtūr prōvīncĭă Caēsār,

quōd nōn vīctrīcēs ăquĭlās dēpōnĕrĕ iūssūs

pārŭĕrīm? mĭhĭ sī mērcēs ērēptă lăbōrūmst,

hīs sāltēm lōngī nōn cūm dŭcĕ praēmĭă bēllī

rēddāntūr; mīlēs sūb quōlĭbĕt īstĕ trĭūmphēt.

Cōnfĕrĕt ēxsānguīs quō sē pōst bēllă sĕnēctūs?

Quaē sēdēs ĕrĭt ēmĕrĭtīs? quaē rūră dăbūntūr,

quaē nōstēr vĕtĕrānŭs ărēt? quaē moēnĭă fēssīs?

Ān mĕlĭūs fīēnt pīrātaē, Māgnĕ, cŏlōnī?

Tōllĭtĕ iāmprīdēm vīctrīcĭă, tōllĭtĕ, sīgnă;

vīrĭbŭs ūtēndum ēst quās fēcĭmŭs. ārmă tĕnēntī

ōmnĭă dāt quī iūstă nĕgāt. nēc nūmĭnă dērūnt;

nām nĕquĕ praēdă mĕīs nĕquĕ rēgnūm quaērĭtŭr ārmīs:

dētrăhĭmūs dŏmĭnōs Ūrbī sērvīrĕ părātaē."

Dīxĕrăt; āt dŭbĭūm nōn clārō mūrmŭrĕ vūlgūs

sēcum īncērtă frĕmīt. Pĭĕtās pătrĭīquĕ pĕnātēs

quāmquām caēdĕ fĕrās mēntēs ănĭmōsquĕ tŭmēntīs

frāngūnt; sēd dīrō fērrī rĕvŏcāntŭr ămōrĕ

dūctōrīsquĕ mĕtū. sūmmī tūm mūnĕră pīlī

Laēlĭŭs ēmĕrĭtīquĕ gĕrēns īnsīgnĭă dōnī,

sērvātī cīvīs rĕfĕrēntēm praēmĭă quērcūm:

"Sī lĭcĕt," ēxclāmāt "Rōmānī māxĭmĕ rēctōr

nōmĭnĭs, ēt iūs ēst vērās ēxprōmĕrĕ vōcēs:

quōd tām lēntă tŭās tĕnŭīt pătĭēntĭă vīrēs,

cōnquĕrĭmūr. dērātnĕ tĭbī fīdūcĭă nōstrī?

Dūm mŏvĕt haēc călĭdūs spīrāntĭă cōrpŏră sānguīs,

ēt dūm pīlă vălēnt fōrtēs tōrquērĕ lăcērtī,

dēgĕnĕrēm pătĭērĕ tŏgām rēgnūmquĕ sĕnātūs?

Ūsque ădĕō mĭsĕrum ēst cīvīlī vīncĕrĕ bēllō?

Dūc ăgĕ pēr Scўthĭaē pŏpŭlōs, pĕr ĭnhōspĭtă Sŷrtīs

lītŏră, pēr călĭdās Lĭbўaē sĭtĭēntĭs hărēnās:

haēc mănŭs, ūt vīctūm pōst tērgă rĕlīnquĕrĕt ōrbēm,

Ōcĕănī tŭmĭdās rēmō cōmpēscŭĭt ūndās,

frēgĭt ĕt ārctōō spūmāntēm vērtĭcĕ Rhēnūm.

Iūssă sĕquī tām pōssĕ mĭhī quām vēllĕ nĕcēssēst.

Nēc cīvīs mĕŭs ēst īn quēm tŭă clāssĭcă, Caēsār,

aūdĭĕrō. pēr sīgnă dĕcēm fēlīcĭă cāstrīs

pērquĕ tŭōs iūrō quōcūmque ēx hōstĕ trĭūmphōs:

pēctŏrĕ sī frātrīs glădĭūm iŭgŭlōquĕ părēntīs

cōndĕrĕ mē iŭbĕās plēnaēque īn vīscĕră pārtū

cōniŭgĭs, īnvītā pĕrăgām tămĕn ōmnĭă dēxtrā;

sī spŏlĭārĕ dĕōs īgnēmque īmmīttĕrĕ tēmplīs,

nūmĭnă mīscēbīt cāstrēnsīs flāmmă mŏnētaē;

cāstră sŭpēr Tūscī sī pōnĕrĕ Thŷbrĭdĭs ūndās,

Hēspĕrĭōs aūdāx vĕnĭām mētātŏr ĭn āgrōs;

tū quōscūmquĕ vŏlēs īn plānum ēffūndĕrĕ mūrōs,

hīs ărĭēs āctūs dīspērgēt sāxă lăcērtīs,

īllă lĭcēt, pĕnĭtūs tōllī quām iūssĕrĭs ūrbēm,

Rōmă sĭt." hīs cūnctaē sĭmŭl ādsēnsērĕ cŏhōrtēs

ēlātāsque āltē quaēcūmque ād bēllă vŏcārēt,

prōmīsērĕ mănūs. īt tāntŭs ăd aēthĕră clāmōr

quāntūs, pīnĭfĕraē bŏrĕās cūm Thrācĭŭs Ōssaē

rūpĭbŭs īncŭbŭīt, cūrvātō rōbŏrĕ prēssaē

fīt sŏnŭs aūt rūrsūs rĕdĕūntĭs ĭn aēthĕră sīlvaē.

Caēsăr, ŭt āccēptūm tām prōnō mīlĭtĕ bēllūm

fātăquĕ fērrĕ vĭdēt, nē quō lānguōrĕ mŏrētūr

fōrtūnām, spārsās pēr Gāllĭcă rūră cŏhōrtēs

ēvŏcăt ēt Rōmām mōtīs pĕtĭt ūndĭquĕ sīgnīs.

Dēsĕrŭērĕ căvō tēntōrĭă fīxă Lĕmānnō

cāstrăquĕ quaē Vŏsĕgī cūrvām sŭpĕr ārdŭă rīpām

pūgnācēs pīctīs cŏhĭbēbānt Līngŏnĕs ārmīs.

Hī vădă līquērūnt Ĭsăraē, quī gūrgĭtĕ dūctūs

pēr tām mūltă sŭō, fāmaē māiōrĭs ĭn āmnēm

lāpsŭs, ăd aēquŏrĕās nōmēn nōn pērtŭlĭt ūndās.

Sōlvūntūr flāvī lōngā stătĭōnĕ Rŭtēnī;

mītĭs Ătāx Lătĭās gaūdēt nōn fērrĕ cărīnās

fīnĭs ĕt Hēspĕrĭaē, prōmōtō līmĭtĕ, Vārūs;

quāquĕ sŭb Hērcŭlĕō sācrātūs nūmĭnĕ pōrtūs

ūrgēt rūpĕ căvā pĕlăgūs (nōn cōrŭs ĭn īllūm

iūs hăbĕt aūt zĕphўrūs; sōlūs sŭă lītŏră tūrbāt

Cīrcĭŭs ēt tūtā prŏhĭbēt stătĭōnĕ Mŏnoēcī);

quāquĕ iăcēt lītūs dŭbĭūm quōd tērră frĕtūmquĕ

vīndĭcăt āltērnīs vĭcĭbūs, cūm fūndĭtŭr īngēns

Ōcĕănūs vēl cūm rĕfŭgīs sē flūctĭbŭs aūfērt.

Vēntŭs ăb ēxtrēmō pĕlăgūs sīc āxĕ vŏlūtēt

dēstĭtŭātquĕ fĕrēns, ān sīdĕrĕ mōtă sĕcūndō

Tēthўŏs ūndă văgaē lūnārĭbŭs aēstŭĕt hōrīs,

flāmmĭgĕr ān Tītān, ŭt ălēntēs haūrĭăt ūndās,

ērĭgăt Ōcĕănūm flūctūsque ād sīdĕră dūcāt,

quaērĭtĕ, quōs ăgĭtāt mūndī lăbŏr; āt mĭhĭ sēmpēr

tū, quaēcūmquĕ mŏvēs tām crēbrōs caūsă mĕātūs,

ūt sŭpĕrī vōlvērĕ, lătē. tūm rūră Nĕmētīs

quī tĕnĕt ēt rīpās Ătŭrī, quā lītŏrĕ cūrvō

mōllĭtĕr ādmīssūm claūdīt Tārbēllĭcŭs aēquōr,

sīgnă mŏvēt, gaūdētque āmōtō Sāntŏnŭs hōstĕ

ēt Bĭtŭrīx lōngīsquĕ lĕvēs Suēssōnĕs ĭn ārmīs.

Ōptĭmŭs ēxcūssō Leūcūs Rēmūsquĕ lăcērtō,

ōptĭmă gēns flēxīs īn gŷrūm Sēquănă frēnīs,

ēt dŏcĭlīs rēctōr mōnstrātī Bēlgă cŏvīnnī

Ārvērnīque aūsī Lătĭō sē fīngĕrĕ frātrēs

sānguĭne ăb Īlĭăcō pŏpŭlī nĭmĭūmquĕ rĕbēllīs

Nērvĭŭs, ēt caēsī pōllūtūs sānguĭnĕ Cōttaē

ēt quī tē lāxīs ĭmĭtāntūr, Sārmătă, brācīs,

Vāngiōnēs, Bătăvīquĕ trŭcēs, quōs aērĕ rĕcūrvō

strīdēntēs ăcŭērĕ tŭbaē; quā Cīngă pĕrērrāt

gūrgĭtĕ, quā Rhŏdănūs rāptūm vēlōcĭbŭs ūndīs

īn mărĕ fērt Ărărīm, quā mōntĭbŭs ārdŭă sūmmīs

gēns hăbĭtāt cānā pēndēntēs rūpĕ Cĕbēnnās.

Pīctŏnĕs īmmūnēs sŭbĭgūnt sŭă rūră; nĕc ūltrā

īnstăbĭlēs Tŭrŏnēs cīrcūmsĭtă cāstră cŏērcēnt.

Īn nĕbŭlīs, Mĕdŭānă, tŭīs mārcērĕ pĕrōsūs

Āndūs iām plăcĭdā Lĭgĕrīs rĕcrĕātŭr ăb ūndā.

Īnclĭtă Caēsărĕīs Gĕnăbōs dīssōlvĭtŭr ālīs.

Tū quŏquĕ laētātūs cōnvērtī proēlĭă, Trēvīr,

ēt nūnc tōnsĕ Lĭgūr, quōndām pēr cōllă dĕcōrĕ

crīnĭbŭs ēffūsīs tōtī praēlātĕ Cŏmātaē;

ēt quĭbŭs īmmītīs plācātūr sānguĭnĕ dīrō

Teūtātēs hōrrēnsquĕ fĕrīs āltārĭbŭs Ēsūs

ēt Tărănīs Scўthĭcaē nōn mītĭŏr āră Dĭānaē.

Vōs quŏquĕ, quī fōrtēs ănĭmās bēllōquĕ pĕrēmptās

laūdĭbŭs īn lōngūm vātēs dīmīttĭtĭs aēvūm,

plūrĭmă sēcūrī fūdīstīs cārmĭnă, bārdī.

Ēt vōs bārbărĭcōs rītūs mōrēmquĕ sĭnīstrūm

sācrōrūm, drŭĭdaē, pŏsĭtīs rĕpĕtīstĭs ăb ārmīs.

Sōlīs nōssĕ dĕōs ēt caēlī nūmĭnă vōbīs

aūt sōlīs nēscīrĕ dătūm; nĕmŏra āltă rĕmōtīs

īncŏlĭtīs lūcīs; vōbīs aūctōrĭbŭs ūmbraē

nōn tăcĭtās Ĕrĕbī sēdēs Dītīsquĕ prŏfūndī

pāllĭdă rēgnă pĕtūnt: rĕgĭt īdēm spīrĭtŭs ārtūs

ōrbe ălĭō; lōngaē, cănĭtīs sī cōgnĭtă, vītaē

mōrs mĕdĭa ēst. cērtē pŏpŭlī, quōs dēspĭcĭt ārctōs,

fēlīcēs ērrōrĕ sŭō, quōs īllĕ tĭmōrūm

māxĭmŭs haūt ūrguēt, lētī mĕtŭs. īndĕ rŭēndī

īn fērrūm mēns prōnă vĭrīs ănĭmaēquĕ căpācēs

mōrtĭs, ĕt īgnāvūm rĕdĭtūraē pārcĕrĕ vītaē.

Ēt vōs crīnĭgĕrōs bēllīs ārcērĕ Căŷcōs

ōppŏsĭtī pĕtĭtīs Rōmām Rhēnīquĕ fĕrōcēs

dēsĕrĭtīs rīpās ĕt ăpērtūm gēntĭbŭs ōrbēm.

Caēsăr, ŭt īmmēnsaē cōllēctō rōbŏrĕ vīrēs

aūdēndī māiōră fĭdēm fēcērĕ, pĕr ōmnēm

spārgĭtŭr Ītălĭām vīcīnăquĕ moēnĭă cōmplēt.

Vānă quŏque ād vērōs āccēssīt fāmă tĭmōrēs

īrrūpītque ănĭmōs pŏpŭlī clādēmquĕ fŭtūrām

īntŭlĭt ēt vēlōx prŏpĕrāntīs nūntĭă bēllī

īnnŭmĕrās sōlvīt fālsa īn praēcōnĭă līnguās.

Ēst quī, taūrĭfĕrīs ŭbĭ sē Mēvānĭă cāmpīs

ēxplĭcăt, aūdācīs rŭĕre īn cērtāmĭnă tūrmās

āffĕrăt, ēt quā Nār Tĭbĕrīno īllābĭtŭr āmnī,

bārbărĭcās saēvī dīscūrrĕrĕ Caēsărĭs ālās;

īpsum ōmnēs ăquĭlās cōllātăquĕ sīgnă fĕrēntēm

āgmĭnĕ nōn ūnō dēnsīsque īncēdĕrĕ cāstrīs.

Nēc quālēm mĕmĭnērĕ vĭdēnt: māiōrquĕ fĕrūsquĕ

mēntĭbŭs ōccūrrīt vīctōque īmmānĭŏr hōstĕ.

Hūnc īntēr Rhēnūm pŏpŭlōs Ālpēmquĕ iăcēntēs,

fīnĭbŭs ārctōīs pătrĭāque ā sēdĕ rĕvūlsōs,

pōnĕ sĕquī, iūssāmquĕ fĕrīs ā gēntĭbŭs Ūrbēm

Rōmānō spēctāntĕ răpī. Sīc quīsquĕ păvēndō

dāt vīrēs fāmaē, nūllōque aūctōrĕ mălōrūm,

quaē fīnxērĕ tĭmēnt. Nēc sōlūm vūlgŭs ĭnānī

pērcūssūm tērrōrĕ păvēt, sēd cūrĭa; ĕt īpsī

sēdĭbŭs ēxsīlvērĕ pătrēs, īnvīsăquĕ bēllī

cōnsŭlĭbūs fŭgĭēns māndāt dēcrētă sĕnātūs.

Tūnc quaē tūtă pĕtānt ēt quaē mĕtŭēndă rĕlīnquānt

īncērtī: quō quēmquĕ fŭgaē tŭlĭt īmpĕtŭs, ūrgēt

praēcĭpĭtēm pŏpŭlūm, sĕrĭēque haērēntĭă lōngā

āgmĭnă prōrūmpūnt; crēdās aūt tēctă nĕfāndās

cōrrĭpŭīssĕ făcēs aūt iām quătĭēntĕ rŭīnā

nūtāntēs pēndērĕ dŏmōs; sīc tūrbă pĕr ūrbēm

praēcĭpĭtī lŷmphātă grădū, vĕlŭt ūnĭcă rēbūs

spēs fŏrĕt ādflīctīs pătrĭōs ēxcēdĕrĕ mūrōs,

īncōnsūltă rŭīt. quālīs, cūm tūrbĭdŭs aūstēr

rēpŭlĭt ā Lĭbўcīs īmmēnsūm Sŷrtĭbŭs aēquōr

frāctăquĕ vēlĭfĕrī sōnvērūnt pōndĕră mālī,

dēsĭlĭt īn flūctūs dēsērtā pūppĕ măgīstēr

nāvĭtăque, ēt nōndūm spārsā cōmpāgĕ cărīnaē

naūfrăgĭūm sĭbĭ quīsquĕ făcīt; sīc ūrbĕ rĕlīctā

īn bēllūm fŭgĭtūr. Nūllūm iām lānguĭdŭs aēvō

ēvălŭīt rĕvŏcārĕ părēns cōniūnxvĕ mărītūm

flētĭbŭs, aūt pătrĭī, dŭbĭaē dūm vōtă sălūtīs

cōncĭpĕrēnt, tĕnŭērĕ lărēs; nēc līmĭnĕ quīsquām

haēsĭt, ĕt ēxtrēmō tūnc fōrsĭtăn ūrbĭs ămātaē

plēnŭs ăbīt vīsū; rŭĭt īrrĕvŏcābĭlĕ vūlgūs.

Ō făcĭlēs dărĕ sūmmă dĕōs ĕădēmquĕ tŭērī

dīffĭcĭlēs! Ūrbēm pŏpŭlīs vīctīsquĕ frĕquēntēm

gēntĭbŭs ēt gĕnĕrīs, cŏĕāt sī tūrbă, căpācēm

hūmānī făcĭlēm vēntūrō Caēsărĕ praēdām

īgnāvaē līquērĕ mănūs. cūm prēssŭs ăb hōstĕ

claūdĭtŭr ēxtērnīs mīlēs Rōmānŭs ĭn ōrīs,

ēffŭgĭt ēxĭgŭō nōctūrnă pĕrīcŭlă vāllō,

ēt sŭbĭtūs rāptī mūnīmĭnĕ caēspĭtĭs āggēr

praēbēt sēcūrōs īntrā tēntōrĭă sōmnōs:

tū tāntum aūdītō bēllōrūm nōmĭnĕ, Rōmă,

dēsĕrĕrīs; nōx ūnă tŭīs nōn crēdĭtă mūrīs.

Dāndă tămēn vĕnĭa ēst tāntōrūm, dāndă, păvōrūm:

Pōmpĕĭō fŭgĭēntĕ tĭmēnt. tūm nē quă fŭtūrī

spēs sāltēm trĕpĭdās mēntēs lĕvĕt, āddĭtă fātī

pēĭŏrīs mănĭfēstă fĭdēs, sŭpĕrīquĕ mĭnācēs

prōdĭgĭīs tērrās īmplērūnt, aēthĕră, pōntūm.

Īgnōta ōbscūraē vīdērūnt sīdĕră nōctēs

ārdēntēmquĕ pŏlūm flāmmīs caēlōquĕ vŏlāntēs

ōblīquās pĕr ĭnānĕ făcēs crīnēmquĕ tĭmēndī

sīdĕrĭs ēt tērrīs mūtāntēm rēgnă cŏmētēn.

Fūlgŏră fāllācī mĭcŭērūnt crēbră sĕrēnō

ēt vărĭās īgnīs tēnsō dĕdĭt āĕrĕ fōrmās:

nūnc iăcŭlūm lōngō, nūnc spārsō lūmĭnĕ lāmpās

ēmĭcŭīt caēlō. tăcĭtūm sĭnĕ nūbĭbŭs ūllīs

fūlmĕn ĕt ārctōīs răpĭēns dē pārtĭbŭs īgnēm

pērcūssīt Lătĭārĕ căpūt, stēllaēquĕ mĭnōrēs

pēr văcŭūm sŏlĭtaē nōctīs dēcūrrĕrĕ tēmpūs

īn mĕdĭūm vēnērĕ dĭēm, cōrnūquĕ cŏāctō

iām Phoēbē tōtō frātrēm cūm rēddĕrĕt ōrbĕ,

tērrārūm sŭbĭtā pērcūssa ēxpāllŭĭt ūmbrā.

Īpsĕ căpūt mĕdĭō Tītān cūm fērrĕt Ŏlŷmpō,

cōndĭdĭt ārdēntēs ātrā cālīgĭnĕ cūrrūs

īnvŏlŭītque ōrbēm tĕnĕbrīs gēntēsquĕ cŏēgīt

dēspērārĕ dĭēm; quālēm fŭgĭēntĕ pĕr ōrtūs

sōlĕ Thўēstēaē nōctēm dūxērĕ Mўcēnaē.

Ōră fĕrōx Sĭcŭlaē lāxāvīt Mūlcĭbĕr Aētnaē

nēc tŭlĭt īn caēlūm flāmmās, sēd vērtĭcĕ prōnō

īgnĭs ĭn Hēspĕrĭūm cĕcĭdīt lătŭs. Ātră Chărŷbdīs

sānguīneūm fūndō tōrsīt mărĕ. flēbĭlĕ saēvī

lātrāvērĕ cănēs. Vēstālī rāptŭs ăb ārā

īgnĭs ĕt ōstēndēns cōnfēctās flāmmă Lătīnās

scīndĭtŭr īn pārtēs gĕmĭnōquĕ căcūmĭnĕ sūrgīt

Thēbānōs ĭmĭtātă rŏgōs. tūm cārdĭnĕ tēllūs

sūbsēdīt, vĕtĕrēmquĕ iŭgīs nūtāntĭbŭs Ālpēs

dīscūssērĕ nĭvēm. Tēthŷs māiōrĭbŭs ūndīs

Hēspĕrĭām Cālpēn sūmmūmque īmplēvĭt Ătlāntă.

Īndĭgĕtēs flēvīssĕ dĕōs Ūrbīsquĕ lăbōrēm

tēstātōs sūdōrĕ lărēs dēlāpsăquĕ tēmplīs

dōnă sŭīs dīrāsquĕ dĭēm foēdāssĕ vŏlūcrēs

āccĭpĭmūs, sīlvīsquĕ fĕrās sūb nōctĕ rĕlīctīs

aūdācēs mĕdĭā pŏsŭīssĕ cŭbīlĭă Rōmā.

Tūm pĕcŭdūm făcĭlēs hūmāna ād mūrmŭră līnguaē,

mōnstrōsīque hŏmĭnūm pārtūs nŭmĕrōquĕ mŏdōquĕ

mēmbrōrūm, mātrēmquĕ sŭūs cōntērrŭĭt īnfāns;

dīrăquĕ pēr pŏpŭlūm Cūmānaē cārmĭnă vātīs

vūlgāntūr. tūm, quōs sēctīs, Bēllōnă lăcērtīs

saēvă mŏvēt, cĕcĭnērĕ dĕōs, crīnēmquĕ rŏtāntēs

sānguīneūm pŏpŭlīs ŭlŭlārūnt trīstĭă Gāllī.

Cōmpŏsĭtīs plēnaē gĕmŭērūnt ōssĭbŭs ūrnaē.

Tūnc frăgŏr ārmōrūm māgnaēquĕ pĕr āvĭă vōcēs

aūdītaē nĕmŏrum ēt vĕnĭēntēs cōmmĭnŭs ūmbraē,

quīquĕ cŏlūnt iūnctōs ēxtrēmīs moēnĭbŭs āgrōs,

dīffŭgĭūnt. īngēns ūrbēm cīngēbăt Ĕrīnŷs

ēxcŭtĭēns prōnām flāgrāntī vērtĭcĕ pīnūm

strīdēntīsquĕ cŏmās, Thēbānām quālĭs Ăgaūēn

īmpŭlĭt aūt saēvī cōntōrsīt tēlă Lўcūrgī

Eūmĕnĭs, aūt quālēm iūssū Iūnōnĭs ĭnīquaē

hōrrŭĭt Ālcīdēs, vīsō iām Dītĕ, Mĕgaērām.

Īnsōnvērĕ tŭbae, ēt quāntō clāmōrĕ cŏhōrtēs

mīscēntūr, tāntūm nōx ātră sĭlēntĭbŭs aūrīs

ēdĭdĭt. ē mĕdĭō vīsī cōnsūrgĕrĕ Cāmpō

trīstĭă Sūllānī cĕcĭnēre ōrācŭlă mānēs,

tōllēntēmquĕ căpūt gĕlĭdās Ănĭēnĭs ăd ūndās

āgrĭcŏlaē Mărĭūm frāctō fūgērĕ sĕpūlchrō.

Haēc prōptēr plăcŭīt Tūscōs dē mōrĕ vĕtūstō

āccīrī vātēs. quōrūm quī māxĭmŭs aēvō

Ārrūns īncŏlŭīt dēsērtaē moēnĭă Lūcaē,

fūlmĭnĭs ēdōctūs mōtūs vēnāsquĕ călēntēs

fībrārum ēt mŏnĭtūs ērrāntĭs ĭn āĕrĕ pīnnaē,

mōnstră iŭbēt prīmūm, quaē nūllō sēmĭnĕ dīscōrs

prōtŭlĕrāt nātūră, răpī stĕrĭlīquĕ nĕfāndōs

ēx ŭtĕrō fētūs īnfaūstīs ūrĕrĕ flāmmīs.

Mōx iŭbĕt ēt tōtām păvĭdīs ā cīvĭbŭs ūrbēm

āmbīri ēt, fēstō pūrgāntēs moēnĭă lūstrō,

lōngă pĕr ēxtrēmōs pōmērĭă cīngĕrĕ fīnēs

pōntĭfĭcēs, sācrī quĭbŭs ēst pērmīssă pŏtēstās.

Tūrbă mĭnōr rītū sĕquĭtūr sūccīnctă Găbīnō,

Vēstālēmquĕ chŏrūm dūcīt vīttātă săcērdōs,

Trōiānām sōlī cuī fās vīdīssĕ Mĭnērvām;

tūnc quī fātă dĕūm sēcrētăquĕ cārmĭnă sērvānt

ēt lōtām pārvō rĕvŏcānt Ālmōnĕ Cўbēbēn,

ēt dōctūs vŏlŭcrēs aūgūr sērvārĕ sĭnīstrās

sēptēmvīrque ĕpŭlīs fēstūs Tĭtĭīquĕ sŏdālēs

ēt Sălĭūs laētō pōrtāns āncīlĭă cōllō

ēt tōllēns ăpĭcēm gĕnĕrōsō vērtĭcĕ flāmēn.

Dūmque īlli ēffūsām lōngīs ānfrāctĭbŭs ūrbēm

cīrcŭmĕūnt, Ārrūns dīspērsōs fūlmĭnĭs īgnīs

cōllĭgĭt ēt tērraē maēstō cūm mūrmŭrĕ cōndīt

dātquĕ lŏcīs nūmēn; sācrīs tūnc ādmŏvĕt ārīs

ēlēctā cērvīcĕ mărēm. Iām fūndĕrĕ Bācchūm

coēpĕrăt ōblīquōquĕ mŏlās īndūcĕrĕ cūltrō,

īmpātiēnsquĕ dĭū nōn grātī vīctĭmă sācrī,

cōrnŭă sūccīnctī prĕmĕrēnt cūm tōrvă mĭnīstrī,

dēpŏsĭtō vīctūm praēbēbāt pōplĭtĕ cōllūm.

Nēc crŭŏr ēmĭcŭīt sŏlĭtūs, sēd vūlnĕrĕ lārgō

dīffūsūm rŭtĭlō dīrūm prō sānguĭnĕ vīrūs.

Pāllŭĭt āttŏnĭtūs sācrīs fērālĭbŭs Ārrūns

ātque īrām sŭpĕrūm rāptīs quaēsīvĭt ĭn ēxtīs.

Tērrŭĭt īpsĕ cŏlōr vātēm; nām pāllĭdă taētrīs

vīscĕră tīnctă nŏtīs gĕlĭdōque īnfēctă crŭōrĕ

plūrĭmŭs āspērsō vărĭābāt sānguĭnĕ līvōr.

Cērnīt tābĕ iĕcūr mădĭdūm vēnāsquĕ mĭnācēs

hōstīlī dē pārtĕ vĭdēt. pūlmōnĭs ănhēlī

fībră lătēt pārvūsquĕ sĕcāt vītālĭă līmēs.

Cōr iăcĕt ēt sănĭēm pĕr hĭāntīs vīscĕră rīmās

ēmīttūnt prōdūntquĕ sŭās ōmēntă lătēbrās.

Quōdquĕ nĕfās nūllīs īmpūne āppārŭĭt ēxtīs,

ēccĕ vĭdēt căpĭtī fībrārum īncrēscĕrĕ mōlēm

āltĕrĭūs căpĭtīs; pārs aēgra ēt mārcĭdă pēndēt,

pārs mĭcăt ēt cĕlĕrī vēnās mŏvĕt īmprŏbă pūlsū.

Hīs ŭbĭ cōncēpīt māgnōrūm fātă mălōrūm,

ēxclāmāt: "Vīx fās, sŭpĕrī, quaēcūmquĕ mŏvētīs,

prōdĕrĕ mē pŏpŭlīs; nĕc ĕnīm tĭbĭ, sūmmĕ, lĭtāvī,

Iūppĭtĕr, hōc sācrūm; caēsīque īn pēctŏră taūrī

īnfērnī vēnērĕ dĕī. nōn fāndă tĭmēmūs,

sēd vĕnĭēnt māiōră mĕtū. dī vīsă sĕcūndēnt,

ēt fībrīs sīt nūllă fĭdēs, sēd cōndĭtŏr ārtīs

fīnxĕrĭt īstă Tăgēs." flēxā sīc ōmĭnă Tūscūs

īnvōlvēns mūltāquĕ tĕgēns āmbāgĕ cănēbāt.

Āt Fĭgŭlūs, cuī cūră dĕōs sēcrētăquĕ caēlī

nōssĕ fŭīt, quēm nōn stēllārum Aēgŷptĭă Mēmphīs

aēquārēt vīsū nŭmĕrīsquĕ mŏvēntĭbŭs āstră,

"Aūt hīc ērrăt," ăīt "nūllā cūm lēgĕ pĕr aēvūm

mūndŭs ĕt īncērtō dīscūrrūnt sīdĕră mōtū,

aūt, sī fātă mŏvēnt, Ūrbī gĕnĕrīquĕ părātūr

hūmānō mātūră lŭēs. tērraēnĕ dĕhīscēnt

sūbsīdēntque ūrbēs, āttōllēt fērvĭdŭs āēr

tēmpĕrĭēm, sĕgĕtēs tēllūs īnfīdă nĕgābīt,

ōmnĭs ăn ēffūsīs mīscēbĭtŭr ūndă vĕnēnīs?

Quōd clādīs gĕnŭs, ō sŭpĕrī, quā pēstĕ părātīs

saēvĭtĭam? ēxtrēmī mūltōrūm tēmpŭs ĭn ūnūm

cōnvēnērĕ dĭēs. Sūmmō sī frīgĭdă caēlō

stēllă nŏcēns nīgrōs Sātūrni āccēndĕrĕt īgnīs,

Deūcăliŏnēōs fūdīssĕt Ăquārĭŭs īmbrēs,

tōtăquĕ dīffūsō lătŭīssĕt ĭn aēquŏrĕ tēllūs.

Sī saēvūm rădĭīs Nēmaēūm, Phoēbĕ, Lĕōnēm

nūnc prĕmĕrēs, tōtō flŭĕrēnt īncēndĭă mūndō,

sūccēnsūsquĕ tŭīs flāgrāssēt cūrrĭbŭs aēthēr.

Hī cēssānt īgnēs. Tū quī flāgrāntĕ mĭnācēm

Scōrpiōn īncēndīs caūdā chēlāsquĕ pĕrūrīs,

quīd tāntūm, Grādīvĕ, părās? Nām mītĭs ĭn āltō

Iūppĭtĕr ōccāsū prĕmĭtūr Vĕnĕrīsquĕ sălūbrĕ

sīdŭs hĕbēt mōtūquĕ cĕlēr Cŷllēnĭŭs haērēt,

ēt caēlūm Mārs sōlŭs hăbēt. Cūr sīgnă mĕātūs

dēsĕrŭērĕ sŭōs mūndōque ōbscūră fĕrūntūr,

ēnsĭfĕrī nĭmĭūm fūlgēt lătŭs Ōrīōnīs?

Īmmĭnĕt ārmōrūm răbĭēs fērrīquĕ pŏtēstās

cōnfūndēt iūs ōmnĕ mănū scĕlĕrīquĕ nĕfāndō

nōmĕn ĕrīt vīrtūs mūltōsque ēxībĭt ĭn ānnōs

hīc fŭrŏr. ēt sŭpĕrōs quīd prōdēst pōscĕrĕ fīnēm?

cūm dŏmĭnō pāx īstă vĕnīt. dūc, Rōmă, mălōrūm

cōntĭnŭām sĕrĭēm clādēmque īn tēmpŏră mūltă

ēxtrăhĕ cīvīlī tāntūm iām lībĕră bēllō."

Tērrŭĕrānt sătĭs haēc păvĭdām praēsāgĭă plēbēm;

sēd māiōră prĕmūnt. Nām quālīs vērtĭcĕ Pīndī

Ēdŏnĭs Ōgўgĭō dēcūrrīt plēnă Lўaēō,

tālĭs ĕt āttŏnĭtām răpĭtūr mātrōnă pĕr ūrbēm

vōcĭbŭs hīs prōdēns ūrguēntēm pēctŏră Phoēbūm:

"Quō fĕrŏr, ō Paēān? quā mē sŭpĕr aēthĕră rāptām

cōnstĭtŭīs tērrā? vĭdĕō Pāngaēă nĭvōsīs

cānă iŭgīs lātōsque Haēmī sūb rūpĕ Phĭlīppōs.

Quīs fŭrŏr hīc, ō Phoēbĕ, dŏcē. Quō tēlă mănūsquĕ

Rōmānaē mīscēnt ăcĭēs bēllūmquĕ sĭne hōstēst?

Quō dīvērsă fĕrōr? prīmōs mē dūcĭs ĭn ōrtūs

quā mărĕ Lāgēī mūtātūr gūrgĭtĕ Nīlī:

hūnc ĕgŏ, flūmĭnĕā dēfōrmīs trūncŭs hărēnā

quī iăcĕt, āgnōscō. Dŭbĭām sŭpĕr aēquŏră Sŷrtīm

ārēntēmquĕ fĕrōr Lĭbўēn, quō trīstĭs Ĕnŷō

trānstŭlĭt Ēmăthĭās ăcĭēs. nūnc dēsŭpĕr Ālpīs

nūbĭfĕraē cōllēs ātque āĕrĭām Pŷrēnēn

ābrĭpĭmūr. pătrĭaē sēdīs rĕmĕāmŭs ĭn ūrbīs,

īmpĭăque īn mĕdĭō pĕrăgūntūr bēllă sĕnātū.

Cōnsūrgūnt pārtēs ĭtĕrūm, tōtūmquĕ pĕr ōrbēm

rūrsŭs ĕō. Nŏvă dā mĭhĭ cērnĕrĕ lītŏră pōntī

tēllūrēmquĕ nŏvām; vīdī iām, Phoēbĕ, Phĭlīppōs."

Haēc ăĭt ēt lāssō iăcŭīt dēsērtă fŭrōrĕ.

Bella per Emathios plus quam ciuilia campos,

iusque datum sceleri canimus, populumque potentem

in sua uictrici conuersum uiscera dextra,

cognatasque acies, et rupto foedere regni

certatum totis concussi uiribus orbis

in commune nefas, infestisque obuia signis

signa, pares aquilas et pila minantia pilis.

Quis furor, o ciues, quae tanta licentia ferri

gentibus inuisis Latium praebere cruorem!

Cumque superba foret Babylon spolianda tropaeis

Ausoniis umbraque erraret Crassus inulta,

bella geri placuit nullos habitura triumphos?

Heu quantum terrae potuit pelagique parari

hoc quem ciuiles hauserunt sanguine dextrae,

unde uenit Titan, et nox ubi sidera condit,

quaque dies medius flagrantibus aestuat horis

et qua bruma rigens ac nescia uere remitti

astringit Scythicum glaciali frigore pontum!

Sub iuga iam Seres, iam barbarus isset Araxes,

et gens si qua iacet nascenti conscia Nilo.

Tum, si tantus amor belli tibi, Roma, nefandi,

totum sub Latias leges cum miseris orbem,

in te uerte manus; nondum tibi defuit hostis.

At nunc semirutis pendent quod moenia tectis

urbibus Italiae lapsisque ingentia muris

saxa iacent nulloque domus custode tenentur

rarus et antiquis habitator in urbibus errat,

horrida quod dumis multosque inarata per annos

Hesperia est desuntque manus poscentibus aruis,

non tu, Pyrrhe ferox, nec tantis cladibus auctor

Poenus erit; nulli penitus descendere ferro

contigit; alta sedent ciuilis uulnera dextrae.

Quod si non aliam uenturo fata Neroni

inuenere uiam magnoque aeterna parantur

regna deis caelumque suo seruire Tonanti

non nisi saeuorum potuit post bella gigantum,

iam nihil, o superi, querimur, scelera ista nefasque

hac mercede placent; diros Pharsalia campos

impleat et Poeni saturentur sanguine manes;

ultima funesta concurrant proelia Munda;

his, Caesar, Perusina fames Mutinaeque labores

accedant fatis et quas premit aspera classes

Leucas et ardenti seruilia bella sub Aetna:

multum Roma tamen debet ciuilibus armis,

quod tibi res acta est. Te, cum statione peracta

astra petes serus, praelati regia caeli

excipiet gaudente polo; seu sceptra tenere,

seu te flammigeros Phoebi conscendere currus,

telluremque nihil mutato sole timentem

igne uago lustrare iuuet, tibi numine ab omni

cedetur, iurisque tui natura relinquet,

quis deus esse uelis, ubi regnum ponere mundi.

Sed neque in arctoo sedem tibi legeris orbe,

nec polus auersi calidus qua uergitur austri,

unde tuam uideas obliquo sidere Romam.

Aetheris immensi partem si presseris unam,

sentiet axis onus. Librati pondera caeli

orbe tene medio; pars aetheris illa sereni

tota uacet, nullaeque obstent a Caesare nubes.

Tum genus humanum positis sibi consulat armis,

inque uicem gens omnis amet; pax missa per orbem

ferrea belligeri compescat limina Iani.

Sed mihi iam numen, nec, si te pectore uates

accipio, Cirrhaea uelim secreta mouentem

sollicitare deum Bacchumque auertere Nysa:

tu satis ad uires Romana in carmina dandas.

Fert animus causas tantarum expromere rerum,

immensumque aperitur opus, quid in arma furentem

impulerit populum, quid pacem excusserit orbi:

inuida fatorum series summisque negatum

stare diu nimioque graues sub pondere lapsus

nec se Roma ferens. Sic cum compage soluta

saecula tot mundi suprema coëgerit hora,

antiquum repetens iterum chaos, omnia mixtis

sidera sideribus concurrent, ignea pontum

astra petent, tellus extendere litora nolet

excipietque fretum, fratri contraria Phoebe

ibit et obliquum bigas agitare per orbem

indignata diem poscet sibi, totaque discors

machina diuulsi turbabit foedera mundi.

In se magna ruunt; laetis hunc numina rebus

crescendi posuere modum. Nec gentibus ullis

commodat in populum terrae pelagique potentem

inuidiam Fortuna suam: tu causa malorum

facta tribus dominis communis, Roma, nec umquam

in turbam missi feralia foedera regni.

O male concordes nimiaque cupidine caeci!

Quid miscere iuuat uires orbemque tenere

in medio? Dum terra fretum terramque leuabit

aër et longi uoluent Titana labores

noxque diem caelo totidem per signa sequetur,

nulla fides regni sociis, omnisque potestas

impatiens consortis erit. Nec gentibus ullis

credite, nec longe fatorum exempla petantur:

fraterno primi maduerunt sanguine muri.

Nec pretium tanti tellus pontusque furoris

tunc erat: exiguum dominos commisit asylum.

Temporis angusti mansit concordia discors,

paxque fuit non sponte ducum; nam sola futuri

Crassus erat belli medius mora. Qualiter undas

qui secat et geminum gracilis mare separat Isthmos

nec patitur conferre fretum, si terra recedat,

Ionium Aegaeo franget mare: sic ubi saeua

arma ducum dirimens miserando funere Crassus

Assyrias Latio maculauit sanguine Carrhas,

Parthica Romanos soluerunt damna furores.

Plus illa uobis acie quam creditis actumst,

Arsacidae: bellum uictis ciuile dedistis.

Diuiditur ferro regnum, populique potentis,

quae mare, quae terras, quae totum possidet orbem

non cepit fortuna duos. Nam pignora iuncti

sanguinis et diro ferales omine taedas

abstulit ad manes Parcarum Iulia saeua

intercepta manu. Quod si tibi fata dedissent

maiores in luce moras, tu sola furentem

inde uirum poteras atque hinc retinere parentem

armatasque manus excusso iungere ferro,

ut generos soceris mediae iunxere Sabinae.

Morte tua discussa fides, bellumque mouere

permissum ducibus. Stimulos dedit aemula uirtus:

tu, noua ne ueteres obscurent acta triumphos

et uictis cedat piratica laurea Gallis,

Magne, times; te iam series ususque laborum

erigit impatiensque loci fortuna secundi.

Nec quemquam iam ferre potest Caesarue priorem

Pompeiusue parem. Quis iustius induit arma?

scire nefas; magno se iudice quisque tuetur:

uictrix causa deis placuit, sed uicta Catoni.

Nec coiere pares. Alter uergentibus annis

in senium longoque togae tranquillior usu

dedidicit iam pace ducem, famaeque petitor

multa dare in uulgus, totus popularibus auris

impelli, plausuque sui gaudere theatri,

nec reparare nouas uires, multumque priori

credere fortunae. Stat, magni nominis umbra,

qualis frugifero quercus sublimis in agro

exuuias ueteris populi sacrataque gestans

dona ducum; nec iam ualidis radicibus haeret,

pondere fixa suo est, nudosque per aëra ramos

effundens, trunco non frondibus efficit umbram;

sed quamuis primo nutet casura sub Euro,

tot circum siluae firmo se robore tollant,

sola tamen colitur. Sed non in Caesare tantum

nomen erat nec fama ducis, sed nescia uirtus

stare loco, solusque pudor non uincere bello;

acer et indomitus, quo spes quoque ira uocasset

ferre manum, et numquam temerando parcere ferro,

successus urgere suos, instare fauori

numinis, impellens quidquid sibi summa petenti

obstaret, gaudensque uiam fecisse ruina.

Qualiter expressum uentis per nubila fulmen

aetheris impulsi sonitu mundique fragore

emicuit rupitque diem populosque pauentes

terruit obliqua praestringens lumina flamma;

in sua templa furit, nullaque exire uetante

materia magnamque cadens magnamque reuertens

dat stragem late sparsosque recolligit ignes.

Hae ducibus causae; suberant sed publica belli

semina, quae populos semper mersere potentes.

Namque ut opes nimias mundo fortuna subacto

intulit, et rebus mores cessere secundis,

praedaque et hostiles luxum suasere rapinae,

non auro tectisue modus, mensasque priores

aspernata fames; cultus gestare decoros

uix nuribus rapuere mares; fecunda uirorum

paupertas fugitur, totoque accersitur orbe

quo gens quaeque perit: tunc longos iungere fines

agrorum, et quondam duro sulcata Camilli

uomere et antiquos Curiorum passa ligones

longa sub ignotis extendere rura colonis.

Non erat is populus quem pax tranquilla iuuaret,

quem sua libertas immotis pasceret armis.

Inde irae faciles et, quod suasisset egestas,

uile nefas magnumque decus ferroque petendum

plus patria potuisse sua, mensuraque iuris

uis erat; hinc leges et plebis scita coactae

et cum consulibus turbantes iura tribuni;

hinc rapti fasces pretio sectorque fauoris

ipse sui populus letalisque ambitus Vrbi

annua uenali referens certamina Campo;

hinc usura uorax auidumque in tempora faenus

et concussa fides et multis utile bellum.

Iam gelidas Caesar cursu superauerat Alpes

ingentisque animo motus bellumque futurum

ceperat. Vt uentum est parui Rubiconis ad undas,

ingens uisa duci patriae trepidantis imago

clara per obscuram uultu maestissima noctem,

turrigero canos effundens uertice crines,

caesarie lacera nudisque adstare lacertis

et gemitu permixta loqui: "Quo tenditis ultra?

quo fertis mea signa, uiri? si iure uenitis,

si ciues, huc usque licet." Tunc perculit horror

membra ducis, riguere comae, gressumque cohercens

languor in extrema tenuit uestigia ripa.

Tarpeia de rupe, Tonans, Phrygiique penates

gentis Iuleae et rapti secreta Quirini

et residens celsa Latiaris Iuppiter Alba

Vestalesque foci summique o numinis instar,

Roma, faue coeptis; non te furialibus armis

persequor; en adsum, uictor terraque marique,

Caesar, ubique tuus (liceat modo), nunc quoque, miles.

Ille erit, ille nocens, qui me tibi fecerit hostem."

Inde moras soluit belli tumidumque per amnem

signa tulit propere; sic ut squalentibus aruis

aestiferae Libyes uiso leo comminus hoste

subsedit dubius, totam dum colligit iram;

mox ubi se saeuae stimulauit uerbere caudae

erexitque iubam et uasto graue murmur hiatu

infremuit, tunc, torta leuis si lancea Mauri

haereat aut latum subeant uenabula pectus,

per ferrum tanti securus uulneris exit.

Fonte cadit modico paruisque impellitur undis

puniceus Rubicon, cum feruida canduit aestas,

perque imas serpit ualles et Gallica certus

limes ab Ausoniis disterminat arua colonis.

Tum uires praebebat hiems, atque auxerat undas

tertia iam grauido pluuialis Cynthia cornu

et madidis euri resolutae flatibus Alpes.

Primus in obliquum sonipes opponitur amnem

excepturus aquas; molli tum cetera rumpit

turba uado faciles iam fracti fluminis undas.

Caesar, ut aduersam superato gurgite ripam

attigit Hesperiae uetitis et constitit aruis,

"Hic," ait "hic pacem temerataque iura relinquo;

te, Fortuna, sequor; procul hinc iam foedera sunto.

Credidimus fatis, utendum est iudice bello."

Sic fatus noctis tenebris rapit agmina ductor

impiger; it torto Balearis uerbere fundae

ocior et missa Parthi post terga sagitta

uicinumque minax inuadit Ariminum, et ignes

solis lucifero fugiebant astra relicto.

Iamque dies primos belli uisura tumultus

exoritur; seu sponte deum, seu turbidus auster

impulerat, maestam tenuerunt nubila lucem.

Constitit ut capto iussus deponere miles

signa foro, stridor lituum clangorque tubarum

non pia concinuit cum rauco classica cornu.

Rupta quies populi, stratisque excita iuuentus

deripuit sacris adfixa penatibus arma

quae pax longa dabat; nuda iam crate fluentis

inuadunt clipeos curuataque cuspide pila

et scabros nigrae morsu robiginis enses.

Vt notae fulsere aquilae Romanaque signa

et celsus medio conspectus in agmine Caesar,

deriguere metu; gelidus pauor occupat artus,

et tacito mutos uoluunt in pectore questus:

"O male uicinis haec moenia condita Gallis,

o tristi damnata loco! pax alta per omnis

et tranquilla quies populos; nos praeda furentum

primaque castra sumus. Melius, Fortuna, dedisses

orbe sub eoo sedem gelidaque sub arcto

errantesque domos, Latii quam claustra tueri.

Nos primi Senonum motus Cimbrumque furentem

uidimus et Martem Libyes cursumque furoris

Teutonici; quotiens Romam fortuna lacessit,

hac iter est bellis." Gemitu sic quisque latenti,

non ausus timuisse palam; uox nulla dolori

credita; sed quantum, uolucres cum bruma cohercet,

rura silent mediusque tacet sine murmure pontus,

tanta quies. Noctis gelidas lux soluerat umbras,

ecce faces belli dubiaeque in proelia menti

urguentes addunt stimulos cunctasque pudoris

rumpunt fata moras; iustos fortuna laborat

esse ducis motus et causas inuenit armis:

expulit ancipiti discordes Vrbe tribunos

uicto iure minax iactatis curia Gracchis.

Hos iam mota ducis uicinaque signa petentes

audax uenali comitatur Curio lingua,

uox quondam populi libertatemque tueri

ausus et armatos plebi miscere potentes.

Vtque ducem uarias uoluentem pectore curas

conspexit: "Dum uoce tuae potuere iuuari,

Caesar," ait "partes, quamuis nolente senatu,

traximus imperium, tunc cum mihi rostra tenere

ius erat et dubios in te transferre Quirites

At postquam leges bello siluere coactae,

pellimur e patriis laribus patimurque uolentes

exilium; tua nos faciet uictoria ciues.

Dum trepidant nullo firmatae robore partes,

tolle moras; semper nocuit differre paratis.

Par labor atque metus pretio maiore petuntur:

bellantem geminis tenuit te Gallia lustris,

pars quota terrarum? Facili si proelia pauca

gesseris euentu, tibi Roma subegerit orbem

Nunc neque te longi remeantem pompa triumphi

excipit, aut sacras poscunt Capitolia laurus;

liuor edax tibi cuncta negat, gentesque subactas

uix impune feres. Socerum depellere regno

decretum genero est; partiri non potes orbem,

solus habere potes." Sic postquam fatus, et ipsi

in bellum prono tantum tamen addidit irae

accenditque ducem, quantum clamore iuuatur

Eleus sonipes, quamuis iam carcere clauso

immineat foribus pronusque repagula laxet.

Conuocat armatos extemplo ad signa maniplos,

utque satis trepidum turba coeunte tumultum

composuit uultu dextraque silentia iussit:

"Bellorum o socii, qui mille pericula Martis

mecum" ait "experti decimo iam uincitis anno,

hoc cruor arctois meruit diffusus in aruis

uulneraque et mortes hiemesque sub Alpibus actae?

Non secus ingenti bellorum Roma tumultu

concutitur quam si Poenus transcenderit Alpes

Hannibal: implentur ualidae tirone cohortes;

in classem cadit omne nemus; terraque marique

iussus Caesar agi. Quid? Si mihi signa iacerent

Marte sub aduerso ruerentque in terga feroces

Gallorum populi? Nunc cum fortuna secundis

mecum rebus agat superique ad summa uocantes,

tentamur. Veniat longa dux pace solutus

milite cum subito partesque in bella togatae

Marcellusque loquax et nomina uana, Catones.

Scilicet extremi Pompeium emptique clientes

continuo per tot satiabunt tempora regno!

Ille reget currus nondum patientibus annis;

ille semel raptos numquam dimittet honores.

Quid iam rura querar totum subpressa per orbem

ac iussam seruire famem? quis castra timenti

nescit mixta foro, gladii cum triste micantes

iudicium insolita trepidum cinxere corona,

atque auso medias perrumpere milite leges,

Pompeiana reum clauserunt signa Milonem?

Nunc quoque ne lassum teneat priuata senectus,

bella nefanda parat suetus ciuilibus armis

et docilis Sullam scelerum uicisse magistrum;

utque ferae tigres numquam posuere furorem,

quas nemore Hyrcano, matrum dum lustra sequuntur,

altus caesorum pauit cruor armentorum,

sic et Sullanum solito tibi lambere ferrum

durat, Magne, sitis. nullus semel ore receptus

pollutas patitur sanguis mansuescere fauces.

Quem tamen inueniet tam longa potentia finem?

Quis scelerum modus est? ex hoc iam te, improbe, regno

ille tuus saltem doceat descendere Sulla.

Post Cilicasne uagos et lassi Pontica regis

proelia barbarico uix consummata ueneno

ultima Pompeio dabitur prouincia Caesar,

quod non uictrices aquilas deponere iussus

paruerim? mihi si merces erepta laborumst,

his saltem longi non cum duce praemia belli

reddantur; miles sub quolibet iste triumphet.

Conferet exsanguis quo se post bella senectus?

Quae sedes erit emeritis? quae rura dabuntur,

quae noster ueteranus aret? quae moenia fessis?

An melius fient piratae, Magne, coloni?

Tollite iampridem uictricia, tollite, signa;

uiribus utendum est quas fecimus. arma tenenti

omnia dat qui iusta negat. nec numina derunt;

nam neque praeda meis neque regnum quaeritur armis:

detrahimus dominos Vrbi seruire paratae."

Dixerat; at dubium non claro murmure uulgus

secum incerta fremit. Pietas patriique penates

quamquam caede feras mentes animosque tumentis

frangunt; sed diro ferri reuocantur amore

ductorisque metu. summi tum munera pili

Laelius emeritique gerens insignia doni,

seruati ciuis referentem praemia quercum:

"Si licet," exclamat "Romani maxime rector

nominis, et ius est ueras expromere uoces:

quod tam lenta tuas tenuit patientia uires,

conquerimur. deratne tibi fiducia nostri?

Dum mouet haec calidus spirantia corpora sanguis,

et dum pila ualent fortes torquere lacerti,

degenerem patiere togam regnumque senatus?

Vsque adeo miserum est ciuili uincere bello?

Duc age per Scythiae populos, per inhospita Syrtis

litora, per calidas Libyae sitientis harenas:

haec manus, ut uictum post terga relinqueret orbem,

Oceani tumidas remo compescuit undas,

fregit et arctoo spumantem uertice Rhenum.

Iussa sequi tam posse mihi quam uelle necessest.

Nec ciuis meus est in quem tua classica, Caesar,

audiero. per signa decem felicia castris

perque tuos iuro quocumque ex hoste triumphos:

pectore si fratris gladium iuguloque parentis

condere me iubeas plenaeque in uiscera partu

coniugis, inuita peragam tamen omnia dextra;

si spoliare deos ignemque immittere templis,

numina miscebit castrensis flamma monetae;

castra super Tusci si ponere Thybridis undas,

Hesperios audax ueniam metator in agros;

tu quoscumque uoles in planum effundere muros,

his aries actus disperget saxa lacertis,

illa licet, penitus tolli quam iusseris urbem,

Roma sit." his cunctae simul adsensere cohortes

elatasque alte quaecumque ad bella uocaret,

promisere manus. it tantus ad aethera clamor

quantus, piniferae boreas cum Thracius Ossae

rupibus incubuit, curuato robore pressae

fit sonus aut rursus redeuntis in aethera siluae.

Caesar, ut acceptum tam prono milite bellum

fataque ferre uidet, ne quo languore moretur

fortunam, sparsas per Gallica rura cohortes

euocat et Romam motis petit undique signis.

Deseruere cauo tentoria fixa Lemanno

castraque quae Vosegi curuam super ardua ripam

pugnaces pictis cohibebant Lingones armis.

Hi uada liquerunt Isarae, qui gurgite ductus

per tam multa suo, famae maioris in amnem

lapsus, ad aequoreas nomen non pertulit undas.

Soluuntur flaui longa statione Ruteni;

mitis Atax Latias gaudet non ferre carinas

finis et Hesperiae, promoto limite, Varus;

quaque sub Herculeo sacratus numine portus

urget rupe caua pelagus (non corus in illum

ius habet aut zephyrus; solus sua litora turbat

Circius et tuta prohibet statione Monoeci);

quaque iacet litus dubium quod terra fretumque

uindicat alternis uicibus, cum funditur ingens

Oceanus uel cum refugis se fluctibus aufert.

Ventus ab extremo pelagus sic axe uolutet

destituatque ferens, an sidere mota secundo

Tethyos unda uagae lunaribus aestuet horis,

flammiger an Titan, ut alentes hauriat undas,

erigat Oceanum fluctusque ad sidera ducat,

quaerite, quos agitat mundi labor; at mihi semper

tu, quaecumque moues tam crebros causa meatus,

ut superi uoluere, late. tum rura Nemetis

qui tenet et ripas Aturi, qua litore curuo

molliter admissum claudit Tarbellicus aequor,

signa mouet, gaudetque amoto Santonus hoste

et Biturix longisque leues Suessones in armis.

Optimus excusso Leucus Remusque lacerto,

optima gens flexis in gyrum Sequana frenis,

et docilis rector monstrati Belga couinni

Aruernique ausi Latio se fingere fratres

sanguine ab Iliaco populi nimiumque rebellis

Neruius, et caesi pollutus sanguine Cottae

et qui te laxis imitantur, Sarmata, bracis,

Vangiones, Batauique truces, quos aere recuruo

stridentes acuere tubae; qua Cinga pererrat

gurgite, qua Rhodanus raptum uelocibus undis

in mare fert Ararim, qua montibus ardua summis

gens habitat cana pendentes rupe Cebennas.

Pictones immunes subigunt sua rura; nec ultra

instabiles Turones circumsita castra coërcent.

In nebulis, Meduana, tuis marcere perosus

Andus iam placida Ligeris recreatur ab unda.

Inclita Caesareis Genabos dissoluitur alis.

Tu quoque laetatus conuerti proelia, Treuir,

et nunc tonse Ligur, quondam per colla decore

crinibus effusis toti praelate Comatae;

et quibus immitis placatur sanguine diro

Teutates horrensque feris altaribus Esus

et Taranis Scythicae non mitior ara Dianae.

Vos quoque, qui fortes animas belloque peremptas

laudibus in longum uates dimittitis aeuum,

plurima securi fudistis carmina, bardi.

Et uos barbaricos ritus moremque sinistrum

sacrorum, druidae, positis repetistis ab armis.

Solis nosse deos et caeli numina uobis

aut solis nescire datum; nemora alta remotis

incolitis lucis; uobis auctoribus umbrae

non tacitas Erebi sedes Ditisque profundi

pallida regna petunt: regit idem spiritus artus

orbe alio; longae, canitis si cognita, uitae

mors media est. certe populi, quos despicit arctos,

felices errore suo, quos ille timorum

maximus haut urguet, leti metus. inde ruendi

in ferrum mens prona uiris animaeque capaces

mortis, et ignauum rediturae parcere uitae.

Et uos crinigeros bellis arcere Caycos

oppositi petitis Romam Rhenique feroces

deseritis ripas et apertum gentibus orbem.

Caesar, ut immensae collecto robore uires

audendi maiora fidem fecere, per omnem

spargitur Italiam uicinaque moenia complet.

Vana quoque ad ueros accessit fama timores

irrupitque animos populi clademque futuram

intulit et uelox properantis nuntia belli

innumeras soluit falsa in praeconia linguas.

Est qui, tauriferis ubi se Meuania campis

explicat, audacis ruere in certamina turmas

afferat, et qua Nar Tiberino illabitur amni,

barbaricas saeui discurrere Caesaris alas;

ipsum omnes aquilas collataque signa ferentem

agmine non uno densisque incedere castris.

Nec qualem meminere uident: maiorque ferusque

mentibus occurrit uictoque immanior hoste.

Hunc inter Rhenum populos Alpemque iacentes,

finibus arctois patriaque a sede reuulsos,

pone sequi, iussamque feris a gentibus Vrbem

Romano spectante rapi. Sic quisque pauendo

dat uires famae, nulloque auctore malorum,

quae finxere timent. Nec solum uulgus inani

percussum terrore pauet, sed curia; et ipsi

sedibus exsiluere patres, inuisaque belli

consulibus fugiens mandat decreta senatus.

Tunc quae tuta petant et quae metuenda relinquant

incerti: quo quemque fugae tulit impetus, urget

praecipitem populum, serieque haerentia longa

agmina prorumpunt; credas aut tecta nefandas

corripuisse faces aut iam quatiente ruina

nutantes pendere domos; sic turba per urbem

praecipiti lymphata gradu, uelut unica rebus

spes foret adflictis patrios excedere muros,

inconsulta ruit. qualis, cum turbidus auster

repulit a Libycis immensum Syrtibus aequor

fractaque ueliferi sonuerunt pondera mali,

desilit in fluctus deserta puppe magister

nauitaque, et nondum sparsa compage carinae

naufragium sibi quisque facit; sic urbe relicta

in bellum fugitur. Nullum iam languidus aeuo

eualuit reuocare parens coniunxue maritum

fletibus, aut patrii, dubiae dum uota salutis

conciperent, tenuere lares; nec limine quisquam

haesit, et extremo tunc forsitan urbis amatae

plenus abit uisu; ruit irreuocabile uulgus.

O faciles dare summa deos eademque tueri

difficiles! Vrbem populis uictisque frequentem

gentibus et generis, coëat si turba, capacem

humani facilem uenturo Caesare praedam

ignauae liquere manus. cum pressus ab hoste

clauditur externis miles Romanus in oris,

effugit exiguo nocturna pericula uallo,

et subitus rapti munimine caespitis agger

praebet securos intra tentoria somnos:

tu tantum audito bellorum nomine, Roma,

desereris; nox una tuis non credita muris.

Danda tamen uenia est tantorum, danda, pauorum:

Pompeio fugiente timent. tum ne qua futuri

spes saltem trepidas mentes leuet, addita fati

peioris manifesta fides, superique minaces

prodigiis terras implerunt, aethera, pontum.

Ignota obscurae uiderunt sidera noctes

ardentemque polum flammis caeloque uolantes

obliquas per inane faces crinemque timendi

sideris et terris mutantem regna cometen.

Fulgora fallaci micuerunt crebra sereno

et uarias ignis tenso dedit aëre formas:

nunc iaculum longo, nunc sparso lumine lampas

emicuit caelo. tacitum sine nubibus ullis

fulmen et arctois rapiens de partibus ignem

percussit Latiare caput, stellaeque minores

per uacuum solitae noctis decurrere tempus

in medium uenere diem, cornuque coacto

iam Phoebe toto fratrem cum redderet orbe,

terrarum subita percussa expalluit umbra.

Ipse caput medio Titan cum ferret Olympo,

condidit ardentes atra caligine currus

inuoluitque orbem tenebris gentesque coëgit

desperare diem; qualem fugiente per ortus

sole Thyesteae noctem duxere Mycenae.

Ora ferox Siculae laxauit Mulciber Aetnae

nec tulit in caelum flammas, sed uertice prono

ignis in Hesperium cecidit latus. Atra Charybdis

sanguineum fundo torsit mare. flebile saeui

latrauere canes. Vestali raptus ab ara

ignis et ostendens confectas flamma Latinas

scinditur in partes geminoque cacumine surgit

Thebanos imitata rogos. tum cardine tellus

subsedit, ueteremque iugis nutantibus Alpes

discussere niuem. Tethys maioribus undis

Hesperiam Calpen summumque impleuit Atlanta.

Indigetes fleuisse deos Vrbisque laborem

testatos sudore lares delapsaque templis

dona suis dirasque diem foedasse uolucres

accipimus, siluisque feras sub nocte relictis

audaces media posuisse cubilia Roma.

Tum pecudum faciles humana ad murmura linguae,

monstrosique hominum partus numeroque modoque

membrorum, matremque suus conterruit infans;

diraque per populum Cumanae carmina uatis

uulgantur. tum, quos sectis, Bellona lacertis

saeua mouet, cecinere deos, crinemque rotantes

sanguineum populis ulularunt tristia Galli.

Compositis plenae gemuerunt ossibus urnae.

Tunc fragor armorum magnaeque per auia uoces

auditae nemorum et uenientes comminus umbrae,

quique colunt iunctos extremis moenibus agros,

diffugiunt. ingens urbem cingebat Erinys

excutiens pronam flagranti uertice pinum

stridentisque comas, Thebanam qualis Agauen

impulit aut saeui contorsit tela Lycurgi

Eumenis, aut qualem iussu Iunonis iniquae

horruit Alcides, uiso iam Dite, Megaeram.

Insonuere tubae, et quanto clamore cohortes

miscentur, tantum nox atra silentibus auris

edidit. e medio uisi consurgere Campo

tristia Sullani cecinere oracula manes,

tollentemque caput gelidas Anienis ad undas

agricolae Marium fracto fugere sepulchro.

Haec propter placuit Tuscos de more uetusto

acciri uates. quorum qui maximus aeuo

Arruns incoluit desertae moenia Lucae,

fulminis edoctus motus uenasque calentes

fibrarum et monitus errantis in aëre pinnae,

monstra iubet primum, quae nullo semine discors

protulerat natura, rapi sterilique nefandos

ex utero fetus infaustis urere flammis.

Mox iubet et totam pauidis a ciuibus urbem

ambiri et, festo purgantes moenia lustro,

longa per extremos pomeria cingere fines

pontifices, sacri quibus est permissa potestas.

Turba minor ritu sequitur succincta Gabino,

Vestalemque chorum ducit uittata sacerdos,

Troianam soli cui fas uidisse Mineruam;

tunc qui fata deum secretaque carmina seruant

et lotam paruo reuocant Almone Cybeben,

et doctus uolucres augur seruare sinistras

septemuirque epulis festus Titiique sodales

et Salius laeto portans ancilia collo

et tollens apicem generoso uertice flamen.

Dumque illi effusam longis anfractibus urbem

circumeunt, Arruns dispersos fulminis ignis

colligit et terrae maesto cum murmure condit

datque locis numen; sacris tunc admouet aris

electa ceruice marem. Iam fundere Bacchum

coeperat obliquoque molas inducere cultro,

impatiensque diu non grati uictima sacri,

cornua succincti premerent cum torua ministri,

deposito uictum praebebat poplite collum.

Nec cruor emicuit solitus, sed uulnere largo

diffusum rutilo dirum pro sanguine uirus.

Palluit attonitus sacris feralibus Arruns

atque iram superum raptis quaesiuit in extis.

Terruit ipse color uatem; nam pallida taetris

uiscera tincta notis gelidoque infecta cruore

plurimus asperso uariabat sanguine liuor.

Cernit tabe iecur madidum uenasque minaces

hostili de parte uidet. pulmonis anheli

fibra latet paruusque secat uitalia limes.

Cor iacet et saniem per hiantis uiscera rimas

emittunt produntque suas omenta latebras.

Quodque nefas nullis impune apparuit extis,

ecce uidet capiti fibrarum increscere molem

alterius capitis; pars aegra et marcida pendet,

pars micat et celeri uenas mouet improba pulsu.

His ubi concepit magnorum fata malorum,

exclamat: "Vix fas, superi, quaecumque mouetis,

prodere me populis; nec enim tibi, summe, litaui,

Iuppiter, hoc sacrum; caesique in pectora tauri

inferni uenere dei. non fanda timemus,

sed uenient maiora metu. di uisa secundent,

et fibris sit nulla fides, sed conditor artis

finxerit ista Tages." flexa sic omina Tuscus

inuoluens multaque tegens ambage canebat.

At Figulus, cui cura deos secretaque caeli

nosse fuit, quem non stellarum Aegyptia Memphis

aequaret uisu numerisque mouentibus astra,

"Aut hic errat," ait "nulla cum lege per aeuum

mundus et incerto discurrunt sidera motu,

aut, si fata mouent, Vrbi generique paratur

humano matura lues. terraene dehiscent

subsidentque urbes, attollet feruidus aër

temperiem, segetes tellus infida negabit,

omnis an effusis miscebitur unda uenenis?

Quod cladis genus, o superi, qua peste paratis

saeuitiam? extremi multorum tempus in unum

conuenere dies. Summo si frigida caelo

stella nocens nigros Saturni accenderet ignis,

Deucalioneos fudisset Aquarius imbres,

totaque diffuso latuisset in aequore tellus.

Si saeuum radiis Nemaeum, Phoebe, Leonem

nunc premeres, toto fluerent incendia mundo,

succensusque tuis flagrasset curribus aether.

Hi cessant ignes. Tu qui flagrante minacem

Scorpion incendis cauda chelasque peruris,

quid tantum, Gradiue, paras? Nam mitis in alto

Iuppiter occasu premitur Venerisque salubre

sidus hebet motuque celer Cyllenius haeret,

et caelum Mars solus habet. Cur signa meatus

deseruere suos mundoque obscura feruntur,

ensiferi nimium fulget latus Orionis?

Imminet armorum rabies ferrique potestas

confundet ius omne manu scelerique nefando

nomen erit uirtus multosque exibit in annos

hic furor. et superos quid prodest poscere finem?

cum domino pax ista uenit. duc, Roma, malorum

continuam seriem clademque in tempora multa

extrahe ciuili tantum iam libera bello."

Terruerant satis haec pauidam praesagia plebem;

sed maiora premunt. Nam qualis uertice Pindi

Edonis Ogygio decurrit plena Lyaeo,

talis et attonitam rapitur matrona per urbem

uocibus his prodens urguentem pectora Phoebum:

"Quo feror, o Paean? qua me super aethera raptam

constituis terra? uideo Pangaea niuosis

cana iugis latosque Haemi sub rupe Philippos.

Quis furor hic, o Phoebe, doce. Quo tela manusque

Romanae miscent acies bellumque sine hostest?

Quo diuersa feror? primos me ducis in ortus

qua mare Lagei mutatur gurgite Nili:

hunc ego, fluminea deformis truncus harena

qui iacet, agnosco. Dubiam super aequora Syrtim

arentemque feror Libyen, quo tristis Enyo

transtulit Emathias acies. nunc desuper Alpis

nubiferae colles atque aëriam Pyrenen

abripimur. patriae sedis remeamus in urbis,

impiaque in medio peraguntur bella senatu.

Consurgunt partes iterum, totumque per orbem

rursus eo. Noua da mihi cernere litora ponti

telluremque nouam; uidi iam, Phoebe, Philippos."

Haec ait et lasso iacuit deserta furore.