Book V IV
Quondam porticus attulitObscuros nimium senesQui sensus et imaginesE corporibus extimisCredant mentibus imprimi,Vt quondam celeri stiloMos est aequore paginae,Quae nullas habeat notas,Pressas figere litteras.Sed mens si propriis uigensNihil motibus explicat,Sed tantum patiens iacetNotis subdita corporumCassasque in speculi uicemRerum reddit imagines,Vnde haec sic animis uigetCernens omnia notio?Quae uis singula perspicitAut quae cognita diuidit?Quae diuisa recolligitAlternumque legens iterNunc summis caput inserit,Nunc decedit in infima,Tum sese referens sibiVeris falsa redarguit?Haec est efficiens magisLonge causa potentiorQuam quae materiae modoImpressas patitur notas.Praecedit tamen excitansAc uires animi mouensViuo in corpore passio.Cum uel lux oculos feritVel uox auribus instrepit,Tum mentis uigor excitusQuas intus species tenetAd motus similes uocansNotis applicat exterisIntrorsumque reconditisFormis miscet imagines.
Cloudy old prophets of the Porch once taughtThat sense and shape presented to the thoughtFrom outward objects their impression take,As when upon a paper smooth and plainOn which as yet no marks of ink have lainWe with a nimble pen do letters make.But if our minds to nothing can applyTheir proper motions, but do patient lieSubject to forms which do from bodies flow,As a glass renders empty shapes of things,Who then can show from whence that motion springsBy force of which the mind all things doth know?Or by what skill are several things espied?And being known what power doth them divide,And thus divided doth again unite,And with a various journey oft aspiresTo highest things, and oft again retiresTo basest, nothing being out of sight,And when she back unto herself doth move,Doth all the falsehoods by the truth reprove?This vigour needs must be an active cause,And with more powerful forces must be deckt,Than that which from those forms, that do reflectFrom outward matter, all her virtue draws.And yet in living bodies passion's mightDoth go before, whose office is to incite,And the first motions in the mind to make.As when the light unto our eyes appears,Or some loud voice is sounded in our ears,Then doth the strength of the dull mind awakeThose phantasies which she retains within;She stirreth up such notions to begin,Whose objects with their natures best agree,And thus applying them to outward things,She joins the external shapes which thence she bringsWith forms which in herself included be.
The Porch, i.e. the Painted Porch ([Greek: stoa poikilae]) atAthens, the great hall adorned with frescoes of the battle of Marathon,which served as lecture-room to Zeno, the founder of the Stoic sect.
Multa modis multis nulla ui cassaque sensu.
Words in this poem
- quondam a.
- Having been formerly; former; sometime. [L., formerly.]
- nihil n.
- Nothing. Nihil album Etym: [L., white nothing] (Chem.), oxide of zinc. See under Zinc. [L.]
- iter n.
- A passage; esp., the passage between the third and fourth ventricles in the brain; the aqueduct of Sylvius. [L. See Eyre.]
- caput n.
- The head; also, a knoblike protuberance or capitulum. [L., the head.]
- longe n.
- A thrust. See Lunge. Smollett. [Abbrev. fr. allonge. See Lunge.]
- quas n.
- A kind of beer. Same as Quass.
- vigour v. t.
- To invigorate. Feltham.
- needs adv.
- Of necessity; necessarily; indispensably; -- often with must, and equivalent to of need. [Orig. gen. of need, used as an adverb. Cf. - wards.]
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
Book V IV is in the public domain. This text is taken from The Theological Tractates and The Consolation of Philosophy, Project Gutenberg ebook #13316; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Boethius, Book V IV, in The Consolation of Philosophy (1918), text of Project Gutenberg ebook #13316, Laurel, https://laurelpoetry.com/poem/boethius-consolation/book-v-iv.html, id L23731.
Form and metre
Book V IV is 80 lines in 4 stanzas. This poem did not settle on a metre of its own; the book it comes from is in iambic tetrameter.
See other poems in iambic tetrameter.
Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.
Rhyme words, stanza by stanza
The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.
- 1 -------AA--B---B-CCC-C----------DDE-FEEF attulit · senes · imagines · extimis · imprimi · stilo · paginae · notasA · litterasA · uigens · explicat · iacetB · corporum · uicem · imagines · uigetB · notio · perspicitC · diuiditC · recolligitC · iter · inseritC · infima · sibi · redarguit · magis · potentior · modo · notas · excitans · mouens · passio · feritD · instrepitD · excitusE · tenet · uocansF · exterisE · reconditisE · imaginesF
- 2 AABCCBDDEFFEGGH--HII-JJ-KKLMMLNNOPPO taughtA · thoughtA · takeB · plainC · lainC · makeB · applyD · lieD · flowE · thingsF · springsF · knowE · espiedG · divideG · uniteH · aspires · retires · sightH · moveI · reproveI · cause · decktJ · reflectJ · draws · mightK · inciteK · makeL · appearsM · earsM · awakeL · withinN · beginN · agreeO · thingsP · bringsP · beO
Scansion, line by line
Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic tetrameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| Quondam porticus attulit | 8 | /˘······ |
| Obscuros nimium senes | 6 | ······ |
| Qui sensus et imagines | 7 | ····˘/˘ |
| E corporibus extimis | 8 | ········ |
| Credant mentibus imprimi, | 8 | ········ |
| Vt quondam celeri stilo | 8 | ·/˘····· |
| Mos est aequore paginae, | 7 | ·˘/···· |
| Quae nullas habeat notas, | 7 | ······· |
| Pressas figere litteras. | 7 | ······· |
| Sed mens si propriis uigens | 7 | ······· |
| Nihil motibus explicat, | 8 | /˘······ |
| Sed tantum patiens iacet | 7 | ······· |
| Notis subdita corporum | 8 | /˘······ |
| Cassasque in speculi uicem | 8 | ········ |
| Rerum reddit imagines, | 7 | ····˘/˘ |
| Vnde haec sic animis uiget | 8 | ········ |
| Cernens omnia notio? | 6 | ······ |
| Quae uis singula perspicit | 8 | ········ |
| Aut quae cognita diuidit? | 7 | ······· |
| Quae diuisa recolligit | 7 | ······· |
| Alternumque legens iter | 7 | ·····/˘ |
| Nunc summis caput inserit, | 8 | ···˘/··· |
| Nunc decedit in infima, | 8 | ········ |
| Tum sese referens sibi | 8 | ·/˘····· |
| Veris falsa redarguit? | 7 | ······· |
| Haec est efficiens magis | 8 | ·˘/···/˘ |
| Longe causa potentior | 6 | ······ |
| Quam quae materiae modo | 6 | ······ |
| Impressas patitur notas. | 8 | ········ |
| Praecedit tamen excitans | 8 | ········ |
| Ac uires animi mouens | 7 | //····· |
| Viuo in corpore passio. | 6 | ······ |
| Cum uel lux oculos ferit | 8 | ········ |
| Vel uox auribus instrepit, | 8 | ········ |
| Tum mentis uigor excitus | 8 | ········ |
| Quas intus species tenet | 7 | ···/˘/˘ |
| Ad motus similes uocans | 7 | ······· |
| Notis applicat exteris | 8 | /˘······ |
| Introrsumque reconditis | 7 | ······· |
| Formis miscet imagines. | 7 | ····˘/˘ |
| Cloudy old prophets of the Porch once taught | 10 | /˘·/˘····· |
| That sense and shape presented to the thought | 10 | ····˘/˘··· |
| From outward objects their impression take, | 10 | ·/˘/˘·˘/˘· |
| As when upon a paper smooth and plain | 10 | ·····/˘··· |
| On which as yet no marks of ink have lain | 10 | ·········· |
| We with a nimble pen do letters make. | 10 | ···/˘··/˘· |
| But if our minds to nothing can apply | 10 | ··/··/˘·˘/ |
| Their proper motions, but do patient lie | 10 | ·/˘/˘··/˘· |
| Subject to forms which do from bodies flow, | 10 | ˘/·····/˘· |
| As a glass renders empty shapes of things, | 10 | ···/˘/˘··· |
| Who then can show from whence that motion springs | 10 | ·······/˘· |
| By force of which the mind all things doth know? | 10 | ·········· |
| Or by what skill are several things espied? | 9 | ·····/˘·· |
| And being known what power doth them divide, | 10 | ·/··/˘··˘/ |
| And thus divided doth again unite, | 10 | ··˘/˘·˘//· |
| And with a various journey oft aspires | 11 | ···/˘/˘·˘/˘ |
| To highest things, and oft again retires | 10 | ·/˘···˘/˘/ |
| To basest, nothing being out of sight, | 10 | ···/˘/˘··· |
| And when she back unto herself doth move, | 10 | ······˘/·· |
| Doth all the falsehoods by the truth reprove? | 10 | ···/····˘/ |
| This vigour needs must be an active cause, | 10 | ·/˘····/˘· |
| And with more powerful forces must be deckt, | 10 | ···/˘/˘··· |
| Than that which from those forms, that do reflect | 10 | ········˘/ |
| From outward matter, all her virtue draws. | 10 | ·/˘/˘··/˘· |
| And yet in living bodies passion's might | 10 | ···/˘/˘/˘· |
| Doth go before, whose office is to incite, | 11 | ·····/˘··˘/ |
| And the first motions in the mind to make. | 10 | ···/˘····· |
| As when the light unto our eyes appears, | 10 | ······/·˘/ |
| Or some loud voice is sounded in our ears, | 10 | ·····/˘·/· |
| Then doth the strength of the dull mind awake | 10 | ········˘/ |
| Those phantasies which she retains within; | 9 | ·····˘/·· |
| She stirreth up such notions to begin, | 10 | ·/˘··/˘·˘/ |
| Whose objects with their natures best agree, | 10 | ·/˘··/˘·˘/ |
| And thus applying them to outward things, | 10 | ··˘/˘··/˘· |
| She joins the external shapes which thence she brings | 11 | ···˘/˘····· |
| With forms which in herself included be. | 10 | ····˘/˘/˘· |
| The Porch, i.e. the Painted Porch ([Greek: stoa poikilae]) at | 13 | ·····/˘······ |
| Athens, the great hall adorned with frescoes of the battle of Marathon, | 18 | /˘···˘/·/˘··/˘·/˘· |
| which served as lecture-room to Zeno, the founder of the Stoic sect. | 16 | ···/˘··/˘·/··/˘· |
| Multa modis multis nulla ui cassaque sensu. | 13 | ··/˘/˘······· |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.