I suppose you call a man rich just because his gold plate goes with him even on his travels, because he farms land in all the provinces, because he unrolls a large account-book, because he owns estates near the city so great that men would grudge his holding them in the waste lands of Apulia. But after you have mentioned all these facts, he is poor. And why? He is in debt. “To what extent?” you ask. For all that he has. Or perchance you think it matters whether one has borrowed from another man or from Fortune. What good is there in mules caparisoned in uniform livery? Or in decorated chariots and
Steeds decked with purple and with tapestry,
With golden harness hanging from their necks,
Champing their yellow bits, all clothed in gold?621
Neither master nor mule is improved by such trappings.
Marcus Cato the Censor, whose existence helped the state as much as did Scipio’s—for while Scipio fought against our enemies, Cato fought against our bad morals—used to ride a donkey, and a donkey, at that, which carried saddlebags containing the master’s necessaries. O how I should love to see him meet today on the road one of our coxcombs,622 with his outriders and Numidians, and a great cloud of dust before him! Your dandy would no doubt seem refined and well-attended in comparison with Marcus Cato—your dandy, who, in the midst of all his luxurious paraphernalia, is chiefly concerned whether to turn his hand to the sword or to the hunting-knife.623 O what a glory to the times in which he lived, for a general who had celebrated a triumph, a censor, and what is most noteworthy of all, a Cato, to be content with a single nag, and with less than a whole nag at that! For part of the animal was preempted by the baggage that hung down on either flank. Would you not therefore prefer Cato’s steed, that single steed, saddle-worn by Cato himself, to the coxcomb’s whole retinue of plump ponies, Spanish cobs,624 and trotters?625 I see that there will be no end in dealing with such a theme unless I make an end myself. So I shall now become silent, at least with reference to superfluous things like these; doubtless the man who first called them “hindrances”626 had a prophetic inkling that they would be the very sort of thing they now are. At present I should like to deliver to you the syllogisms, as yet very few, belonging to our school and bearing upon the question of virtue, which, in our opinion, is sufficient for the happy life.
“That which is good makes men good. For example, that which is good in the art of music makes the musician. But chance events do not make a good man; therefore, chance events are not goods.” The Peripatetics reply to this by saying that the premise is false; that men do not in every case become good by means of that which is good; that in music there is something good, like a flute, a harp, or an organ suited to accompany singing; but that none of these instruments makes the musician. We shall then reply: “You do not understand in what sense we have used the phrase ‘that which is good in music.’ For we do not mean that which equips the musician, but that which makes the musician; you, however, are referring to the instruments of the art, and not to the art itself.627 If, however, anything in the art of music is good, that will in every case make the musician.” And I should like to put this idea still more clearly. We define the good in the art of music in two ways: first, that by which the performance of the musician is assisted, and second, that by which his art is assisted. Now the musical instruments have to do with his performance—such as flutes and organs and harps; but they do not have to do with the musician’s art itself. For he is an artist even without them; he may perhaps be lacking in the ability to practise his art. But the good in man is not in the same way twofold; for the good of man and the good of life are the same.
“That which can fall to the lot of any man, no matter how base or despised he may be, is not a good. But wealth falls to the lot of the pander and the trainer of gladiators; therefore wealth is not a good.” “Another wrong premise,” they say, “for we notice that goods fall to the lot of the very lowest sort of men, not only in the scholar’s art, but also in the art of healing or in the art of navigating.” These arts, however, make no profession of greatness of soul; they do not rise to any heights nor do they frown upon what fortune may bring.628 It is virtue that uplifts man and places him superior to what mortals hold dear; virtue neither craves overmuch nor fears to excess that which is called good or that which is called bad. Chelidon, one of Cleopatra’s eunuchs, possessed great wealth; and recently Natalis—a man whose tongue was as shameless as it was dirty, a man whose mouth used to perform the vilest offices—was the heir of many, and also made many his heirs. What then? Was it his money that made him unclean, or did he himself besmirch his money? Money tumbles into the hands of certain men as a shilling tumbles down a sewer. Virtue stands above all such things. It
