The Defense

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 as Catullus says, after the filthy fashion in vogue among the Iberians.

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 What is there so lascivious in all my verses compared with that one line? I will say nothing of the writings of Diogenes the Cynic, of Zeno the founde

 Now let me read you the others also which they read last as being the most intemperate in expression.

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 There is another poem by Plato dealing conjointly with the boys Alexis and Phaedrus:

 Without citing any further examples I will conclude by quoting a line addressed by Plato to Dion of Syracuse:

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 The divine Hadrian, when he honoured the tomb of his friend the poet Voconius with an inscription in verse from his own pen, wrote thus:

 words which he would never have written had he regarded verse of somewhat too lively a wit as proving their author to be a man of immoral life. I reme

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 The lines which follow are so wonderful, that had you read them you would envy me my wallet even more than you envy me my marriage with Pudentilla.

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 But you who take such exception to fish attribute far different instruments to magicians, charms not to be torn from new-born foreheads, but to be cut

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 Similarly in another passage he says:

 But never in the works of Homer did Proteus anoint his face nor Ulysses his magic trench, nor Aeolus his windbags, nor Helen her mixing bowl, nor Circ

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 He glorified many fish in other verses, stating where each was to be found and whether they were best fried or stewed, and yet he is not blamed for it

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 These words, which I have quoted in Greek, have been selected by Rufinus and separated from their context. He has taken them round as a confession on

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14

Come now, let me admit that I h\u00e1ve looked into it. Is it a crime to be acquainted with one's own likeness and to carry it with one wherever one goes ready to hand within the compass of a small mirror, instead of keeping it hidden away in some one place? Are you ignorant of the fact that there is nothing more pleasing for a man to look upon than his own image? At any rate I know that fathers love those sons most who most resemble themselves, and that public statues are decreed as a reward for merit that the original may gladden his heart by looking on them. What else is the significance of statues and portraits produced by the various arts? You will scarcely maintain the paradox that what is worthy of admiration when produced by art is blameworthy when produced by nature; for nature has an even greater facility and truth than art.

Long labour is expended over all the portraits wrought by the hand of man, yet they never attain to such truth as is revealed by a mirror. Clay is lacking in life, marble in colour, painting in solidity, and all three in motion, which is the most convincing element in a likeness: whereas in a mirror the reflection of the image is marvellous, for it is not only like its original, but moves and follows every nod of the man to whom it belongs; its age always corresponds to that of those who look into the mirror, from their earliest childhood to their expiring age: it puts on all the changes brought by the advance of years, shares all the varying habits of the body, and imitates the shifting expressions of joy and sorrow that may be seen on the face of one and the same man. For all we mould in clay or cast in bronze or carve in stone or tint with encaustic pigments or colour with paint, in a word, every attempt at artistic representation by the hand of man after a brief lapse of time loses in truth and becomes motionless and impassive like the face of a corpse. So far superior to all pictorial art in respect of truthful representation is that craftsmanly smoothness and productive splendour of the mirror.