Cruda Quotes
More Cruda Quotes
Jam senior, sed cruda deo viridisque senectus.
virgil— He look'd in years; yet in his years were seen
A youthful vigor and autumnal green.Line 304 (translated by John Dryden); of Charon.Cf. Conington's translation:
And oh! he might be growing now
In years as fresh and green.
Tempore ducetur longo fortasse cicatrix; Horrent admotas vulnera cruda manus.
— A wound will perhaps become tolerable with length of time;
but wounds which are raw shudder at the touch of the hands.
— Ovid, Epistolæ Ex Ponto, I. 3. 15.
Jam senior, sed cruda deo viridisque senectus.
— Cf. Conington's translation:
And oh! he might be growing now
In years as fresh and green.
Itaque adulescentes mihi mori sic videntur, ut cum aquae multitudine flammae vis opprimitur, senes autem sic, ut cum sua sponte nulla adhibita vi consumptus ignis exstinguitur; et quasi poma ex arboribus, cruda si sunt, vix evelluntur, si matura et cocta, decidunt, sic vitam adulescentibus vis aufert, senibus maturitas; quae quidem mihi tam iucunda est, ut, quo propius ad mortem accedam, quasi terram videre videar aliquandoque in portum ex longa navigatione esse venturus.
— When the young die I am reminded of a strong flame extinguished by a torrent; but when old men die it is as if a fire had gone out without the use of force and of its own accord, after the fuel had been consumed; and, just as apples when they are green are with difficulty plucked from the tree, but when ripe and mellow fall of themselves, so, with the young, death comes as a result of force, while with the old it is the result of ripeness. To me, indeed, the thought of this "ripeness" for death is so pleasant, that the nearer I approach death the more I feel like one who is in sight of land at last and is about to anchor in his home port after a long voyage.
— Cic. Sen. 71
"In the passage quoted here from Monteverdi's madrigal [cruda amarilli, mm.9-19 and 24-30], one sees a tonality determined by the characteristic of the accord parfait on the tonic, by the sixth chord assigned to the third and seventh degrees, by the optional choice of the accord parfait or the sixth chord on the sixth degree, and finally, by the accord parfait, and above all, by the unprepared seventh chord (with major third) on the dominant."
— Joseph Fétis, (1844). Traité complet de la théorie et de la pratique de l'harmonie contenant la doctrine de la science et de l'art, 2d ed., p.166. Brussels and Paris.
In the passage quoted here from Monteverdi's madrigal [ cruda amarilli , mm.9-19 and 24-30], one sees a tonality determined by the accord parfait [root position major chord] on the tonic, by the sixth chord assigned to the third and seventh degrees, by the optional choice of the accord parfait or the sixth chord on the sixth degree, and finally, by the accord parfait and, above all, by the unprepared seventh chord (with major third) on the dominant. (p.171)
— Joseph Fétis, (1722). Traité complet de la théorie et de la pratique de l'harmonie contenant la doctrine de la science et de l'art, 2d ed., p.166. Brussels and Paris.
