https:\/\/www.antiquitatem.com\/en\/felices-hispani-quibus-vivere-est-bibere<\/a><\/p>\n\n\tIt is well known and cited one couplet of an epitaph appeared in Roma<\/em>, referenced in the Corpus Inscriptionum Latinarum (CIL)<\/em> with the number 15258<\/em>, or in Carmina Latina Epigraphica (CLE) <\/em>with the number 1499<\/em>, or in Inscriptiones Latinae Selectae (ILS) 8157 = CLE 1499<\/em>, that synthesizes this "hedonistic<\/em>" proposal.<\/p>\n\n\tNote<\/em>. Hedonism<\/em>, from the Greek \u1f21δονισμ\u03ccς (hedonismos<\/em>) from \u1f21δον\u03ae (hedone<\/em>), pleasure<\/em>, and the suffix -ισμ\u03ccς (-ismos<\/em>) quality, doctrine, system.<\/em><\/p>\n\n\tThis is an example of what some anthologies and literary precepts called "serpentine verse<\/em>", in which the end of the verse or couplet is the same as the first, as the snake biting its own tail, like this one of Juvenal , 14, 139<\/em>:<\/p>\n\n\tCrescit amor nummi quantum ipsa pecunia crevit<\/em>.<\/p>\n\n\t"As money increases, so does love of money."<\/strong><\/em><\/p>\n\n\tSome also speak in these compositions as "chiasmus"<\/em> or composition in "X", from the Greek χιασμ\u03ccς (chiasmos<\/em>), the Greek name of the χ letter<\/em> X, pronounced "chi, qui<\/em>,".<\/p>\n\n\tThe inscription above corresponds to a tombstone or epitaph <\/em>appeared in first-century in Rome<\/em> that Merope <\/em>dedicates to his partner Tiberius Claudius Secundus,<\/em> who lived the not inconsiderable amount of 52 years, with the next really beautiful couplet:<\/p>\n\n\t“bathing, wine, sex ruin our bodies,
\n\tbut bathing, wine and love make life worth living”.<\/strong><\/em><\/p>\n\n\t“balnea vina Venus corrumpunt corpora nostra
\n\tSed vitam faciunt b(alnea) v(ina) V(enus)<\/em><\/p>\n\n\tThe full epitaph reads:<\/p>\n
\n\t“He lived 52 years.
\n\tTo the spirits
\n\tof the departed Tibrius Claudius Secundus.
\n\tHere he has everything with him.
\n\t“bathing, wine, sex ruin our bodies,
\n\t but bathing, wine and love
\n\tmake life worth living”.
\n\tMerope, freedwoman of Caesar
\n\tmade this for her dear companion,
\n\therself and their family and their descendents.”<\/strong><\/em><\/p>\n\n\tV(ixit) an(nos) LII
\n\td(is) M(anibus)
\n\tTi(beri) Claudi Secundi
\n\thic secum habet omnia
\n\tbalnea vina Venus
\n\tcorrumpunt corpora
\n\tnostra se<d=T> vitam faciunt
\n\tb(alnea) v(ina) V(enus)
\n\tkaro contubernal(i)
\n\tfec(it) Merope Caes(aris)
\n\tet sibi et suis p(osterisque) e(orum)<\/em><\/p>\n\n\t![\"\"](\"https:\/\/www.antiquitatem.com\/imgs\/arts\/inscripcion_balnea1_recortada.jpg\")
<\/p>\n
\n\tPhotograph of the text as appear in the Corpus Inscriptionum Latinarum.<\/em><\/p>\n\n\tIt is certainly a well popular maxim in the ancient world. For example it also appears in a bilingual inscription of Gallipoli<\/em>, now Turkey<\/em>, on a spoon with the same hexameter: Carmina Latina Epigraphica (CLE) 1923; (CIL III 12274c<\/em>); (In the edition of Carmina Latina Epigraphica, post Editam collectionem Buechelerianam in lucem prolate Conlegit Einar Engstrom, 1912 p.42, No. 148..):<\/em><\/p>\n\n\t“Baths, wine and sex make fate come faster”<\/strong><\/em><\/p>\n\n\tbalnea vina Venus faciunt properantia fata.<\/em><\/p>\n\tAnother epitaph of the third century A.D., of Ostia<\/em>, also includes the couplet with some variation that expresses self-satisfaction or perhaps complacency and boasting of whom has had a good life. Consider the fact that the deceased is often in the first person, who addresses the still alive, adds a sarcastic tone if not black humor.<\/p>\n\n\tThe epitaph is the corresponding CIL XIV, 914 (or 01318 CLE)<\/em><\/p>\n\n\t“To the spirit of the departed C.Domitius Primus. I, the well-known Primus, am in this tomb. I lived on Lucrine oysters; I often drank Falernian wine. Baths, wine, and love aged with me through the years. If I managed this, may the earth be light on me. Yet among the spirits, the phoenix, which hastens to renew itself along with me, saves me on the altar. Space granted for the burial of C.Domitius Primus by the three Messii –Hermeros, Pia y Pius.”<\/strong><\/em><\/p>\n\n\tD(is) M(anibus)
\n\tC(aius) Domiti Primi
\n\thoc ego su(m) in tumulo Primus notissi
\n\tmus ille vixi Lucrinis pota<v=B>i saepe Fa
\n\tlernum baln<e=I>a vina Venus mecum
\n\tsenuere per annos hec(!) ego si potui
\n\tsit mihi terra lebis(!) et tamen ad Ma
\n\tnes foenix(!) me serbat(!) in ara qui me
\n\tcum properat se reparare sibi
\n\tl(ocus) d(atus) funeri C(ai) Domiti Primi a tribus Messis Hermerote Pia et Pio<\/em><\/p>\n\n\t![\"\"](\"https:\/\/www.antiquitatem.com\/imgs\/arts\/balnea3recortado.jpg\")
<\/p>\n
\n\t![\"\"](\")
<\/p>\n
\n\tTranscription of the text and photo in the CIL<\/em><\/p>\n\n\tA note<\/em>: J.M. Stowasser suggests judiciously several emendations reading some words for better understanding of the epitaph: "illex" for "ille", "tenuere" for "senuere", "seposui" for "si posui", and "arca" for "ara", in "Über ein paar anapästische lateinische Inschriften," in Dreißigster Jahresbericht über das k. k. Franz Joseph-Gymnasium in Wien, Schuljahr 1903\/1904 (Wien: Selbstverlag des Gymnasiums, 1904),<\/p>\n\n\tRobert L<\/em>. quotes in "Aphrodisias," Hellenica 13 (1965): 189) other text with a similar sentiment<\/em>:<\/p>\n\n\t“The flower is dear to travelers: bathe, drink, eat, fuck, for you bring none of these below (to Hades)”<\/strong><\/em><\/p>\n\n\tThe fact that this maxim appears in epitaphs gives added value because we can interpret it as an objective statement of a bon viveur or epicurean<\/strong>, not without black humor.<\/p>\n\n\tThese latest inscriptions added to the pleasures of bathing, drinking and enjoying the love of eating<\/em>, some way implicit in that of "drinking". There are also many examples where the pleasure of eating and general invitation to the good life is highlighted. All this is certainly prolonged and increased during the Middle Ages<\/em> and then by the rigidity of Christianity<\/em>, which seeks to impose fasting and abstinence. The popular, skeptical, epicurean or hedonistic answer is "let us eat and drink, for tomorrow we come to die<\/em>." But this requires a separate article, which at some point I will, because the examples of inscriptions referred to it are numerous.<\/p>\n\n\tActually this maxim and similar are rooted in the anonymous Greek epigram of the Anthologia Palatina, 10,112<\/em> (collection of Greek poems, usually brief, from classical times to the Byzantine).<\/p>\n\n\tWine and baths and venerean indulgence make the road to Hades more precipitous<\/strong><\/em><\/p>\n\n\tNote<\/em>: the word "anthology<\/em>" derives from the Greek \u1f04νθος, anthos, 'flower<\/em>' and λ\u03adγω 'to select',<\/em> and it means "flower selection<\/em>" just like the Latin "florilegium<\/em>", posy<\/em>.<\/p>\n\n\tAs I said, the sentence continues in the Middle Ages <\/em>to the present day. Interestingly, it seems that since the Middle Ages has diminished if not disappeared fondness for baths and hygiene in general; this pleasure does not seem to recover well to contemporary times with the proliferation of SPAs. See:<\/p>\n\n\tBut if it disappears reference to the baths, numerous variations, which in many cases show a clear condemnation and a moralizing proposal, usually are present. I will cite just one example in Spanish of a compendium of the eighteenth century:<\/p>\n
\n\tFLORILEGIUM LATINUM, SÍVE HORTUS PROVERBIORUM, Phrasium, et Syntaxeosque Chrysolitus amoenissimus. NON MODO LATINITATIS PERFECTAE Intelligentiae candidatis perutile, & accommodátum , verum etiam quám maxime necessarium.
\n\tPER D. JOANNEM DE LAMA, QUARTA IMPRESSION. Con las Licencias necesarias .
\n\tEn Madrid : En la Imprenta de Miguel Escribano. Año de 1769.<\/em><\/p>\n\n\tIn the section EEGANTIAE SIVE CATONIANA carmina memoria perpetuo tenenda, which begins on page 320, there are since page 329 entitled In peccatorem<\/em> (for the sinner)<\/em>. Well, at p. 330 he devotes a few couplets to the sins of love and wine; among others:<\/p>\n\n\tThe bathrooms, wine, Venus (sex) are the true poisons of virtue.
\n\tTo that virtue this strong, flee wine and Venus<\/strong><\/em><\/p>\n\n\tBalnea , vina , Venus virtütis vera venena:
\n\tUt virtus vigeat : vadite , vina Venus.<\/em><\/p>\n\n\tOr<\/p>\n
\n\tThe bathroom, wine, Venus, corrupt our bodies:
\n\tBut our bodies are healed by the bathroom, wine, Venus<\/strong><\/p>\n\n\tBalnea , vina , Venus , corrumpunt corpora nostra:
\n\tcorpora noftra sanant balnea , vina , Venus.<\/em><\/p>\n\n\tBut eliminated the component bathing or hygiene by water, the conjunction of “vina<\/em>” and Venus<\/em>, wine and love (wine and women<\/em> in their most popular and sexist version) has potent remained until today, since the frequency of occurrence in numerous operas, to use less artistic in folk songs.<\/p>\n\n\tI will cite just the famous toast of the Traviata:<\/em><\/p>\n\n\t
\n\tToast (Let's Drink From The Joyful Chalices)<\/em><\/p>\n\n\t[Alfredo]<\/em><\/p>\n\n\tLet's drink, drink from the joyful chalices
\n\tsince the beautiness is blossoming.
\n\tAnd might the fleeting hour get inebriated at will
\n\tLet's drink among (those) sweet quivers
\n\tthat Love makes arise,
\n\tsince that eye goes to (his) almighty heart.
\n\tLet's drink, (my) love, (so that) love among the chalices
\n\twill get hotter kisses<\/em><\/strong><\/p>\n\n\t[Chorus]<\/em> Ah! Let's drink, (so that) love, among the chalices, will get hotter kisses<\/strong><\/em><\/p>\n\n\t[Violetta<\/em>]<\/p>\n\n\tWith you, with you, I'll be able to share
\n\tmy cheerful time;
\n\tEverything is crazy, crazy in the world
\n\twhat is not pleasure
\n\tLet's enjoy (the pleasures), fleeting and fast
\n\tis the joy in love,
\n\tit's a flower that blossoms and dies,
\n\tneither it can be enjoyed longer
\n\tLet's enjoy, it's calling us, it's calling us an ardent
\n\tflattering accent<\/strong><\/em>.<\/p>\n\n\t[Chorus]<\/em><\/p>\n\n\tLet's enjoy, the cup* and the canticle,
\n\tthe lovely night and the smiles;<\/strong><\/em>
\n\tmight the new day find them (still) in this paradise<\/strong><\/p>\n\n\t[Violetta] Life is in (its) jubilation<\/strong><\/em><\/p>\n\n\t[Alfredo]<\/em> When (people) aren't in love yet..<\/strong><\/em>.<\/p>\n\n\t[Violetta]<\/em> Don't say it to those who don't know it,<\/strong><\/em><\/p>\n\n\t[Alfredo]<\/em> So it's my destiny<\/strong><\/em><\/p>\n\n\t[Tutti]<\/em><\/p>\n\n\tLet's enjoy, the cup* and the canticle,
\n\tthe lovely night and the smiles;
\n\tmight the new day find them (still) in this paradise.<\/em><\/strong><\/p>\n\n\t(Translated by http:\/\/lyricstranslate.com\/es\/brindisi-libiamo-ne039lieti-calici-toast-lets-drink-joyful-chalices.html#ixzz44ma62HlW)<\/em><\/p>\n\n\tAlfredo
\n\tLibiamo, libiamo ne’lieti calici
\n\tChe la belleza inflora.
\n\tE la fuggevol, fuggevol ora
\n\tS’inebri a voluttà.
\n\tLibiami ne’dolce fremiti
\n\tChe suscita l’amore,
\n\tPoiché quell’occhio
\n\tAl core omnipotente va.
\n\tLibiamo,amore,
\n\tAmor fra i calici
\n\tPiu caldi baci avrá.
\n\tCoro
\n\tAh! Libiam,amor,
\n\tFra’calici
\n\tPiu caldi baci avrà.
\n\tVioletta
\n\tTra voi, tra voi
\n\tSaprò dividere
\n\tIl tempo mio giocondo;
\n\tTutto è follia, follia nel mondo
\n\tCiò che non è piacer
\n\tGodiam, fugace e rapido è il Gaudio dell’amore,
\n\tÈ un flor che nasce e muore,
\n\tNe più si può goder
\n\tGodiamo, c’invita.
\n\tC’invit un férvido accento lusinghier.
\n\tCoro
\n\tGodamo, la tazza,
\n\tLa tazza e il cantico,
\n\tLa notte abella e il riso;
\n\tIn questo, in questo paradiso
\n\tne scopra il nuovo di.
\n\tVioletta
\n\tLa vita è nel tripudio
\n\tAlfredo
\n\tQuando non s’ami ancora
\n\tVioletta
\n\tNol dite a chil’ignora.
\n\tAlfredo
\n\tÈ il mio destin così…
\n\tTutti
\n\tGodiamo, la tazza,
\n\tLa tazza e il cantico,
\n\tLa notte abbella e il riso;
\n\tIn questo, in questo
\n\tParadiso ne scopra il nuovo di.<\/em><\/p>\n\n\tI will also reference, by contrast, the very sexist and insufferable Spanish pasodoble <\/em>of Manolo Escoba<\/em>r, of remarkable success in Spain <\/em>at the time, entitled "Women and Wine<\/em>", whose chorus, related to the content of the article, I would play (I find it impossible to quote the rest of the lyrics of this pasodoble, even to reject it as absurd and of infamous literary quality.):<\/p>\n\n\tNote<\/em>: "infamous<\/em>" is a word derived from Greek φημ\u03af<\/em>, (to talk),<\/em> in-femi (ie, no-talking), which therefore means etymologically "unspeakable, unpronounceable, unworthy to be said,<\/em>", because the noble sentiments, such as patriotism, must be proclaimed but in the right way and in the right context, because if not their dignity is undermined.<\/p>\n\n\tWomen and Wine<\/em><\/p>\n\n\tLong live wine and women!
\n\tand the roses that heat our sun!
\n\tLong live wine and women
\n\tfor they are the gifts of the Lord!
\n\tAnd long live every corner of my homeland.
\n\tLong may they live together as one!
\n\tForming our flag
\n\tand the armour of my Spain.<\/strong><\/em>
\n\t(Translated by http:\/\/lyricstranslate.com\/es\/mujeres-y-vino-women-and-wine.html#ixzz44mZRzQM7)<\/p>\n\n\tViva el vino y las mujeres
\n\ty las rosas que calienta nuestro sol.
\n\tViva el vino y las mujeres,
\n\tque por algo son regalo del Señor.
\n\tY vivan
\n\tlos cuatro puntos
\n\tcardinales de mi patria.
\n\tQue vivan los cuatro juntos,
\n\tque forman nuestra bandera
\n\ty el escudo de mi España.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"According to the moralist scheme of Roman historians and educators, the ancient inhabitants of Rome were austere farmers, who then became addicted to the pleasures and they were corrupted influenced by Greek and Asian luxury after the Punic Wars and the conquest of Greece and East.<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,9,12,13,14],"tags":[],"class_list":["post-4893","post","type-post","status-publish","format-standard","hentry","category-culture","category-education","category-hispania","category-history","category-language-literature"],"_links":{"self":[{"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/posts\/4893","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/comments?post=4893"}],"version-history":[{"count":0,"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/posts\/4893\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/media?parent=4893"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/categories?post=4893"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/tags?post=4893"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}