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In his preface, Signor Tamburini declares that in the first division of the poem he has kept his translation close to the original, while in the two later divisions he had been meno legato, "less exact," in his rendering. This acknowledgment, however unsatisfactory to the reader, presented at least an appearance of fairness.
Altri dicono che fu meno: mori in quella zuffa Lorenzo Michele capitano d'una galera e Giovanni Delfino, d'altro capitano fratello. Era durata la zuffa dal fare del giorno fin' ad ore venti, e erano le genti Veneziane mal Initiate. Era gia la nave Delfina in potere de' nemici quando le altre ad una ad una si renderono.
His characteristic word is: "Some things, Meno, I have said of which I am not altogether confident.
As it did not however appear possible to arrange these dialogues which rank as parts in the same accurate order as those which we considered as whole, it was thought better to class them either according to their agreement in one particular circumstance, as the Phaedo, Apology, and Crito, all which relate to the death of Socrates, and as the Meno and Protagoras, which relate to the question whether virtue can be taught; or according to their agreement in character, as the Lesser Hippias and Euthydemus, which are anatreptic, and the Theages, Laches, and Lysis, which are maieutic dialogues.
In the Meno, already alluded to, Socrates is representing as eliciting from one of Meno's slaves correct answers to questions involving a knowledge or apprehension of certain axioms of the science of mathematics, which, as Socrates learns, the slave had never been taught.
The tyrannous realist!-Meno has discoursed a thousand times, at length, on virtue, before many companies, and very well, as it appeared to him; but, at this moment, he cannot even tell what it is, this cramp-fish of a Socrates has so bewitched him.
The trumpets are capable of even less variety of expression than the horns, as their individuality is even more strongly marked. How entirely that character is conditioned by the mechanism of the instrument may be illustrated by an example. The third movement of Beethoven's seventh symphony contains an interlude molto meno mosso.
The crowd closed in as near as was safe, while the confusion and the shouts of the people and the carters increased every minute. The coachman of the private carriage threw the reins to the footman and sprang down to go to the horses' heads. "You have run over a Zouave!" some one shouted from the crowd. "Meno male! Thank goodness it was not one of us!" exclaimed another voice. "Where is he?
The true philosopher at any rate so trains himself that when his hour comes he greets death with a smile, the life on earth having lost its attractions. Such is the connection between the Meno and the Phaedo; the life that was before and the life that shall be hereafter depend upon the Ideal world.
He knew well that this would avail him nothing; and glad he was to escape from incarceration with the remark, meno male, alias, it might have been worse.
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