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-I am afraid my work is a camel in Egypt, and men’s admiration limited to the bridle and purple housings; as to combinations, though the components may be of the most beautiful (as Comedy and Dialogue in the present case), that will not ensure a good effect, unless the mixture is harmonious and well-proportioned; it is possible that the resultant of two beauties may be bizarre. The readiest instance to hand is the centaur: not a lovely creature, you will admit, but a savage, if the paintings of its drunken bouts and murders go for anything. Well, but on the other hand is it not possible for two such components to result in beauty, as the combination of wine and honey in superlative sweetness? That is my belief; but I am not prepared to maintain that //my// components have that property; I fear the mixture may only have obscured their separate beauties.
+I am afraid my work is a camel in Egypt, and men’s admiration limited to the bridle and purple housings; as to combinations, though the components may be of the most beautiful (as Comedy and Dialogue in the present case), that will not ensure a good effect, unless the mixture is harmonious and well-proportioned; it is possible that the resultant of two beauties may be bizarre. The readiest instance to hand is the centaur[1]: not a lovely creature, you will admit, but a savage, if the paintings of its drunken bouts and murders go for anything. Well, but on the other hand is it not possible for two such components to result in beauty, as the combination of wine and honey in superlative sweetness? That is my belief; but I am not prepared to maintain that //my// components have that property; I fear the mixture may only have obscured their separate beauties.
+> [1] centaur | The centaurs are described to us as monsters of Thessaly, half men and half horses; a fable which probably took its rise from the Thessalians being the first people who made the proper use of horses; it is natural to suppose that such an appearance might convey to those who followed them the idea of a monster, half man and half beast: a country squire always on horseback is to this day little better.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
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-For one thing, there was no great original connexion or friendship between Dialogue and Comedy; the former was a stay-at-home, spending his time in solitude, or at most taking a stroll with a few intimates; whereas Comedy put herself in the hands of Dionysus, haunted the theatre, frolicked in company, laughed and mocked and tripped it to the flute when she saw good; nay, she would mount her anapaests, as likely as not, and pelt the friends of Dialogue with nicknames —doctrinaires, airy metaphysicians, and the like. The thing she loved of all else was to chaff them and drench them in holiday impertinence, exhibit them treading on air and arguing with the clouds, or measuring the jump of a flea, as a type of their ethereal refinements. But Dialogue continued his deep speculations upon Nature and Virtue, till, as the musicians say, the interval between them was two full octaves, from the highest to the lowest note. This ill-assorted pair it is that we have dared to unite and harmonize-reluctant and ill-disposed for reconciliation.
+For one thing, there was no great original connexion or friendship between Dialogue and Comedy[1]; the former was a stay-at-home, spending his time in solitude, or at most taking a stroll with a few intimates; whereas Comedy put herself in the hands of Dionysus, haunted the theatre, frolicked in company, laughed and mocked and tripped it to the flute when she saw good; nay, she would mount her anapaests, as likely as not, and pelt the friends of Dialogue with nicknames —doctrinaires, airy metaphysicians[2], and the like. The thing she loved of all else was to chaff them and drench them in holiday impertinence, exhibit them treading on air and arguing with the clouds, or measuring the jump of a flea[3], as a type of their ethereal refinements. But Dialogue continued his deep speculations upon Nature and Virtue, till, as the musicians say, the interval between them was two full octaves, from the highest to the lowest note. This ill-assorted pair it is that we have dared to unite and harmonize-reluctant and ill-disposed for reconciliation.
+> [1] Dialogue and Comedy | This observation seems very strange and absurd to us, who have always considered dialogue as necessary to, and inseparable from comedy, which, notwithstanding, if we look back tot he rife of the ancient songs, we shall find, was no more than a song to Bacchus, or afterward, the single speech, or declamation, of one drunken actor, besmeared with lees of wine. While philosophy-dialogue was confined to the grave philosophers, who disputed about very serious matters. Lucian's Dialogues, which he is here defending, have certainly dramatic cast, and his application of the //vis comica// to philosophic matters, is that which, above all things, has secured him the universal approbation of latter ages.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
+> [2] airy metaphysicians | The alludes to Aristophanes' comedy of the Clouds, where philosophy is severed ridiculed, as building castles int he air, disputing about trifles, etc.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
+> [3] jump of a flea | In Aristophanes' Clouds, act 1 scene 2, Socrates is ridiculously represented as calculating how far a flea can go at a leap.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
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-And here comes in the apprehension of yet another Promethean analogy: have I confounded male and female, and incurred the penalty? Or no — when will resemblances end?— have I, rather, cheated my hearers by serving them up bones wrapped in fat, comic laughter in philosophic solemnity? As for stealing — for Prometheus is the thief’s patron too — I defy you there; that is the one fault you cannot find with me: from whom should I have stolen? if anyone has dealt before me in such forced unions and hybrids, I have never made his acquaintance. But after all, what am I to do? I have made my bed, and I must lie in it; Epimetheus may change his mind, but Prometheus, never.
+And here comes in the apprehension of yet another Promethean analogy[1]: have I confounded male and female, and incurred the penalty? Or no — when will resemblances end?— have I, rather, cheated my hearers by serving them up bones wrapped in fat[2], comic laughter in philosophic solemnity? As for stealing — for Prometheus is the thief’s patron[3] too — I defy you there; that is the one fault you cannot find with me: from whom should I have stolen? if anyone has dealt before me in such forced unions and hybrids, I have never made his acquaintance. But after all, what am I to do? I have made my bed, and I must lie in it; Epimetheus[4] may change his mind, but Prometheus, never.
+> [1] Lucian tells us, in another piece, that the principal crime attributed to Prometheus was his making of women. See [[home:texts_and_library:dialogues:prometheus-on-caucasus|Prometheus on Caucasus]].((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
+> [2] bones wrapped in fat | Prometheus, according to the mythological history, once upon a time played Zeus a slippery trick - he killed two large oxen, in the skin of one of them he enclosed all the fat and flesh of them both, and in the other put nothing but the bones. Zeus, who was to have his choice, took the latter, and Prometheus, who was a wag, laughed at the jest. Prometheus afterward paid dearly for his choice when the vulture gnawed his liver on Mount Caucasus.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
+> [3] thief's patron | Hermes.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
+> [4] Epimetheus | Epimetheus, we are told, was the son of Zeus and Clymene, and husband of famous Pandora. He is likewise supposed to have been an excellent statuary, and changed into an ape, probably because his figures appeared to be real. Lucian, who is now and then fond of pun, seems only to have mentioned him here from a similarity of sound between the words Pro-metheus and Epi-metheus.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))