Image and likeness

Use in the book

The Timaeus account calls time a moving image of eternity. The image differs from its model precisely through numbered succession, while the model remains in unity. The relation is therefore one of resemblance with a specified difference, and does not simply equate temporal existence with unreality.

Places to read

1. I.8.45.1The introductory report calls time a moving image of eternity.
2. I.8.45.2The direct quotation explains the relation between temporal image and eternal model.

Translation in this edition

“Image” preserves the model-product relation. Keep eikōn distinguishable from eidōlon and phantasma when their local uses differ.

Use in the book

The likeness first appears narratively at p. 33. Magnesia is the true likeness of the child IHSuh in the divine great World-book of Nature, while the seekers divide into those who resemble the Wise and those who resemble Herod. At pp. 56–572 the portrait vocabulary is incorporated into the extended formulation of analogical harmony. It describes the manner of comparison between natural matter and Christ, not a process of artificial fabrication.

The p. 139 margin makes likeness a discriminating relation. Only the proper matter bears the type and effigy of the other term in the requisite way. The vocabulary thus belongs to the claim that the correspondence singles out the true subject. In the conclusion the chymist's altered Simeon-song names what he sees as a true symbolic effigy and natural likeness of humanity's Saviour. On pp. 181 and 1842 the same language returns when Khunrath defends his public confession and begins his final prayer.

Likeness should not be diluted into vague resemblance. It is part of an argument about the natural subject's unique capacity to bear witness to Christ. Yet it also keeps the difference between the two terms legible. The Stone is not called a second incarnate person; the text says that Nature supplies a symbolic comparison of the Son of God and Mary. That is why the descriptions of greater and lesser World, medicinal and eternal benefit, must remain attached to the corresponding terms.

The book also contains disputed similitudes, notably the opponents' apple comparison and rainbow inference. These show that “symbolic” is no blanket permission to make any comparison persuasive. The likeness article concerns the precise Christological vocabulary; its adequacy is what Khunrath argues, rather than an independent result established by the lexicon.

Places to read

1. 1599 p. 33Magnesia is the true Contrafect of the child in the World-book
2. 1599 p. 56Contrafectisch identifies the natural likeness-wise comparison
3. 1599 p. 139 · margin2Effigy and likeness complete the claim of a uniquely adequate corresponding matter
4. 1599 p. 165The chymist sees a true symbolic effigy and natural Contrafactur
5. 1599 p. 184The final prayer calls Magnesia the symbolic likeness of Jesus of Nazareth

Translation in this edition

Translate the family consistently as “likeness,” “likeness-wise” and, where useful, “effigy.” Modern “counterfeit” belongs to fraud or substitution, not to these source forms. The malformed agreement in ein wahres Symbolisches Effigiem at p. 165 is a feature of the mixed German and Latin wording, not evidence that the likeness is doubtful.

Use in the book

An image discloses a source while possessing its character dependently and less completely. In the Proem, soul is a mirror of the divine countenance, and created mind a mirror at the center of things. Self-knowledge can accordingly direct the reader toward knowledge of God. In the hierarchy, a likeness preserves something of its cause without acquiring the cause's full perfection: bodily ranks are presented as shadows of rational souls, whose ranks are images of angels.

Shadow often emphasizes diminution, but the imagery is not a simple opposition between good images and bad shadows. The sensible world can be mistakenly preferred to what is more real; transient qualities are likened, in a reported Plotinian account, to tree-shadows in flowing water; and irrational soul is called rational soul's shadow. Such comparisons do not make bodily beings sheer nonexistence. They distinguish the mode and degree in which an effect manifests its cause.

God's essence is the exemplar through which he knows all things. Its infinite perfection admits further possible modes of imitation beyond any single creature or finite collection, providing an argument that divine knowledge is not restricted to a finite total. These possible images are not independent models stored outside God, nor must all be actualized. Created goods express divine goodness in limited ways, while divine ideas specify their intelligible patterns. God himself does not learn through images received from creatures: he knows their source and possibilities in his own essence.

Reflection has another use in the argument for preservation. A mirror image continually depends on its source, just as the world continually depends on God. This dependence must be distinguished from representational images involved in cognition. Soul, meanwhile, possesses images of higher realities and principles or exemplars of lower ones; it is a mirror of divine things and the countenance of all things. The Apelles comparison makes likeness a task of active self-formation as well: rational soul models itself on higher realities through contemplation, character, and action. Its mirroring therefore does not imply mere passivity, since the same soul develops temporal operations and gives life to bodies.

Further passage references. Proem.4, Proem.7, Proem.9; I.3.19, I.3.33; I.4.1; I.5.28; II.7.22–232; II.9.20; II.10.5; II.10.10–1223; II.11.17–182, 27; II.12.12–15234; II.13.1; III.1.23, 31; III.2.8, 23.

Places to read

1. II.7.22The shadow image expresses the effect’s relative dependence on its producing cause
2. II.7.23A mirror-image illustrates both production and continual preservation
3. II.9.20God knows through his essence rather than receiving images from things
4. II.10.5Possible likenesses cannot exhaust the infinite exemplar’s perfection
5. III.2.23Soul contains images of higher and principles or exemplars of lower realities

Translation in this edition

In II.7.22 imaginarium is rendered “image-like,” preserving the comparison with the cause without declaring the world an illusion. The phrases “compared with” and “as it were” matter. At II.9.20 the denial of cognition through creatures’ images distinguishes divine self-knowledge from receptive representation.

effingere

effingere. Printed forms: effingi; effinguntur.

Fashion or form after a pattern. Innumerable images of divine goodness could be fashioned beyond those actually produced; imaging does not imply actualization of all possibilities. References: II.12.15. See Image and likeness.

imago / simulacrum

imago / simulacrum. Printed forms: imago; simulacrum.

An image or fashioned likeness. The soul reflects an image of God; Ficino fashions a likeness of Plato close to Christian truth. Neither occurrence by itself means a deceptive counterfeit. References: Proem.4, Proem.7. See Image and likeness.

imitari / deficere

imitari / deficere. Printed forms: deficere; imitari.

Imitate / fall short. Distinct forms are conceived as different degrees and modes of likeness to divine form. References: II.11.17. See Image and likeness.

imitatio / imitari

imitatio / imitari. Printed forms: imitatio; imitetur.

Imitation or producing a likeness of an exemplar. Human art imitates nature, while celestial soul imitates the first artisan through a worldly work. References: IV.1.10, IV.2.15. See Image and likeness.

munus / imago / exemplar

munus / imago / exemplar. Printed forms: exemplaria; imagines; munera.

Gift, image, and productive exemplar. Soul holds received likenesses of higher beings and formative powers for lower ones, expressing its middle position. References: IV.2.10. See Image and likeness.

ordo / umbra / imago

ordo / umbra / imago. Printed forms: imagines; ordines; umbrae.

Ranks or ordered arrangements, shadows and images. Ficino reports some who distinguish angelic orders through corresponding souls and bodies; the analogy does not identify the levels. References: I.5.28. See Image and likeness.

similis / dissimilis / similitudo

similis / dissimilis / similitudo. Printed forms: dissimillimum; similem; similes; similibus; simillimum.

Like / unlike / likeness. The effect resembles its cause in form without retaining every perfection; becoming utterly unlike its cause is a different, rejected alternative. References: II.11.1, II.11.9, III.1.8. See Image and likeness.

similis / similitudo

similis / similitudo. Printed forms: similia; similitudinem.

Like, similar, or likeness. Agents produce likenesses according to their power; no finite collection exhausts the infinite exemplar’s possible imitations. References: II.7.5, II.10.5. See Image and likeness.

simulacrum / color

simulacrum / color. Printed forms: colorem; colorum; simulacra.

An image or likeness; color. Images of colors share air without confusion; colored glass and color-source light later serve different causal analogies. References: II.6.14, II.7.31, II.10.12. See Image and likeness.

speculum

speculum. Printed forms: speculo; speculum.

A mirror used as an image of the created soul or mind. The soul reflects the divine countenance; the created mind is a mirror at the centre of things through which the Creator’s works may be contemplated. References: Proem.4, Proem.7. See Image and likeness.

Mirror. Soul is called the mirror of divine things while also life of mortal things; the image highlights cognition within a two-sided mediation. References: III.2.8. See Self knowledge.

speculum / imago

speculum / imago. Printed forms: imagines; speculo.

Mirror and image, with causal and representational uses distinguished. Mirror images illustrate continuing dependence; God’s cognition does not acquire images from external things. References: II.7.23, II.9.20, II.10.5. See Image and likeness.

umbra / res vera

umbra / res vera. Printed forms: rebus veris; umbras; umbris.

A shadow contrasted with true realities. The Proem rebukes preference for sensory shadows; this is an evaluative hierarchy, not a denial that sensory appearances occur. References: Proem.9. See Image and likeness.

umbra arborum in torrente

umbra arborum in torrente. Printed forms: arborum; in torrente; umbras.

Shadows of trees in a stream. The reported Plotinian image makes qualities shadowy and fleeting; it is an image of instability, not a literal composition of matter. References: I.3.19. See Image and likeness.

usurpare / superesse

usurpare / superesse. Printed forms: superest; usurpare.

To claim or appropriate; to remain beyond what has been realized. Finite things cannot lay claim to the whole exemplar’s perfection, so a further mode of imitation always remains. References: II.10.5. See Image and likeness.

vanus / umbratilis

vanus / umbratilis. Printed forms: umbratiles; vanissimum.

Empty or tenuous in being, and shadow-like. These words belong to the reported Plotinian description of dimensions and qualities as fleeting passive affections, not to an independent claim that perception is impossible. References: I.3.19. See Image and likeness.

vultus / imago

vultus / imago. Printed forms: vultus imagines.

Images of a countenance. Creatures flowing from God reflect divine goodness, while their being in God is distinguished as identity in that mode. References: II.12.12. See Image and likeness.

vultus / reluceo

vultus / reluceo. Printed forms: reluceat; vultus.

A countenance, and to shine by reflection. The divine countenance is mirrored in soul in Ficino’s analogy; the vocabulary does not describe God as having a literal bodily face. References: Proem.4. See Image and likeness.

Apelles (authorities and cited works)

Apelles. The painter in the meadow example: the scene presents itself at once, while the painter's observing and representing it proceed successively. The comparison explains how soul moves itself while receiving an external beginning and end. III.1.27–312345. See Motion and stability; Image and likeness.

Use in the book

Devotional objects and a qualified miracle report

In the address to the reader, Burton’s hostile survey of Catholic worship includes pictures, crucifixes, relics and processions. A marginal quotation from Bale places “simulachris,” images, among bells, Masses and many other rites and objects. This is a material devotional use within a polemical catalogue; the noun does not by itself mean a false perception. Burton’s judgment of the surrounding practices belongs to his religious argument.

The catalogue of punishments for sacrilege gives a more particular object: a silver image of Saint John which a man tries to steal. The marginal quotation calls it “simulachrum” twice and adds that the image turns its face away and its back towards the thief, who then loses his reason and attacks his own limbs. The body does not repeat the turning image and begins the whole report with “If we may believe our Pontificiall Writers.” The object’s name, the narrative’s alleged movement and Burton’s qualification must be kept distinct. Burton then groups poets and papal writers together as tellers of fables, while maintaining his own belief in divine punishment. The report’s qualification consequently extends beyond its opening condition.

An optical image without a soul

The explanation of strange sights supplies an explicitly nonliving image. A dark-room projection and concave or cylindrical mirrors can produce apparent people, devils and grotesques. Burton says an image placed elsewhere can seem to hang in the air. The Agrippa quotation in the margin calls the appearances “simulacra animæ expertia,” images devoid of a soul: inexperienced observers think they see demons or shades. Here the distinction between image and animate being is part of the source’s own explanation. It does not depend on making the word simulacra mean hallucination in every setting.

The continuation qualifies a reported optical feat of Roger Bacon because Burton cannot find it in Bacon’s optical writings. It then says that deception is mostly in the brain, while expressly allowing that the devil also presents vain objects to disordered people. The local exposure of an optical trick therefore does not become a universal denial of demonic agency. It distinguishes one mechanism from the other explanations Burton retains.

If virtue could be seen

A marginal sentence beside praise of virtue says it would arouse burning love “si simulachrum ejus ad oculos penetraret,” if its image reached the eyes. The condition matters: a visible likeness of virtue is imagined as a way of expressing virtue’s attractiveness. The surrounding body praises Marcus Brutus’s intelligence and integrity, then another worthy person’s good qualities. This is an ethical application of image-language, distinct from erotic fixation on a bodily beauty. The margin prints a reference to Plato’s Phaedo; the supplied editorial note compares Phaedrus 250d. Those different reference layers remain visible rather than silently correcting Burton’s citation.

The absent beloved remains available

The first Lucretian quotation appears among the extravagant services lovers perform for a mistress and everything associated with her. Her dog, portrait and clothes are treated as relics; a visitor from her receives hospitality and rewards; lovers continue remembering and talking about her. The quoted verse then says that, although the loved person is absent, images are present and the sweet name keeps coming to the ears. Absence has therefore not interrupted the lover’s occupation with the beloved. Representation and repeated naming maintain it.

The next examples reverse the messenger’s direction: a woman welcomes a man’s carrier, repeatedly reads and kisses his letter, and asks again how he looked and what he said. This continuation matters. The Latin images are inserted into a larger sequence of objects, words and reports that recall the beloved; Burton does not offer a self-contained treatise on vision at this point. A letter is a material reminder, a name is heard or rehearsed, and a mental image supplies another form of presence. Their emotional connection does not erase their different media.

The supplied editorial note identifies the quotation with book 4 of Lucretius’s poem and explains the term’s additional technical background as image-films acting upon perception. That background helps explain why images can be “at hand,” but the claim here remains limited: Burton uses Lucretian verse to express continuing erotic remembrance. The quotation alone does not establish his adoption of the poem’s entire account of matter, perception or the soul. The historical philosophical meaning and the immediate rhetorical use should be held together without making either swallow the other.

Images become objects of avoidance

The same plural returns in the treatment of love. Burton first assembles advice to avoid kissing, conversation, gifts, letters, sight of the beloved, and even names, thoughts or stories that provide an occasion for remembrance. The Lucretian command then tells the lover to flee “simulachra & pabula amoris”: the images and nourishment of love. “Pabula” supplies a feeding metaphor. Images are placed alongside the things that sustain desire, while the following instruction turns the mind elsewhere. The therapeutic target is renewed occupation, not merely the beloved’s bodily proximity.

The continuation gives this advice a mechanism in the language of revival. Seeing a beautiful object rekindles desire as visible pomp revives ambition or gold greed. Love grows like a snowball through looking; a small stimulus revives embers thought almost extinguished. A former lover can therefore relapse after a period of separation. These examples explain why mere absence did not suffice in the earlier quotation and why reminders enter the later regimen. Burton’s medical and moral advice is historical counsel, supported here by literary and proverbial comparisons rather than a demonstrated universal law.

Statue and likeness

A different use occurs in the complaint about inadequate rewards for learning. Burton compares the admired but unrewarded scholar with Psyche: crowds praise her beauty, yet no suitor comes. In his Latin adaptation of Apuleius they admire her as a “simulacrum fabre politum,” a skilfully fashioned statue. His following English restatement makes her an admired picture and adds lack of a dowry as the reason no one marries her. These are separate textual operations. The Latin’s statue cannot be translated as “picture” merely because Burton chooses that object in the restatement, and the supplied note identifies the poverty explanation as his addition to Apuleius. The image here expresses aesthetic admiration without the practical commitment the admired person needs.

In counsel against overvaluing beauty, “ad simulachrum alicuius numinis composita” describes a woman fashioned in the likeness of a divinity. Burton piles up idealizing compliments, grants the possibility with “Put case she be,” and immediately asks how long such beauty can last. The surrounding images of plucked flowers, fragile glass and a passing bubble undo the expectation of permanence. The divine likeness belongs to a hypothetical encomium that the argument then qualifies; it is neither a literal identification of the woman as a goddess nor a technical account of image-films.

Related entries

Imagination; Species in perception; Memory and recollection; Soul; Religion and superstition; Demonic apparitions. Future entries: Love melancholy; Beauty; Absence; Catoptrics and perspectives

Places to read

1. Devotional imagesBale’s marginal image-word within Burton’s polemical survey of worship
2. The silver image of Saint JohnConditional report in the body; the margin adds the image turning away, and the continuation dismisses fabulous tales
3. Admiration without supportFocus on paragraphs 24–25. Apuleian statue, Burton’s separate picture comparison, and the added dowry explanation
4. Optical images and a qualified continuationLifeless reflected appearances, Bacon’s alleged feat and Burton’s remaining demonic allowance
5. Virtue’s hypothetical imageConditional visible likeness and the edition’s qualification of the Platonic reference
6. Images during absenceFocus on paragraphs 47–49. Erotic service and relic-like objects, Lucretius’s images and name, followed by letters and repeated inquiry
7. Avoiding what feeds desireFocus on paragraphs 03–04. Names and reminders, images and nourishment, redirected thought and rekindled desire
8. The likeness of a divinityFocus on paragraphs 24–28. Idealizing praise provisionally granted before the argument from beauty’s transience

In this edition

“Simulachra” is rendered “images” in both Lucretian quotations. The modern column translates the Latin directly; it is not Burton’s own separate English gloss. It likewise gives “images and nourishment of love,” preserving the distinction between representation and sustenance. The Editor note records differences between Burton’s Latin and the Lucretius text consulted for the supplied edition: the printed opening and the verb of abstaining are retained rather than silently repaired. This lexicon has checked those editorial statements against the supplied layers, not independently collated a historical Lucretius witness.

The marginal Latin requires a separate translation layer. “Simulachris” in the accompanying note becomes “images”; the silver “simulachrum” in the accompanying note becomes “image”; “simulacra animæ expertia” in the accompanying note becomes “images devoid of a soul”; and the conditional virtue sentence in the accompanying note becomes “It would arouse burning love if its image reached our eyes.” Those English phrases are editorial translations within Burton-labelled notes, not words independently printed in the historical margin or in the modern body column.

The singular is rendered “statue,” while Burton’s following English “picture” remains “picture” in its own aligned passage. The phrase becomes “fashioned in the likeness of some divinity.” Keeping these equivalents separate preserves the concrete statue, the rhetorical divine likeness and the continuing images of an absent person. The article heading follows a spelling attested in the optical margin; the Lucretian quotations’ “simulachra” and the other exact spellings remain separately retrievable.

ad simulacrum alicuius numinis composita

Printed “ad simulachrum alicuius numinis composita” (Latin phrase).

Printed form, Source wording, Original wording, Original construction: ad simulachrum alicuius numinis composita

Fashioned after the likeness of some divine being; not identification of a woman as literally divine.

Context: Hypothetical concession within counsel against overvaluing beauty.

Source: original body

Modern rendering, Modern wording, Modern construction: fashioned in the likeness of some divinity

Alignment convention

Qualification: The aligned component is separate from the checked clause supplied as construction context.

animæ expertia

Printed “animæ expertia” (Latin).

Citation key, Printed form, Original wording: animæ expertia

Lacking a soul; neuter plural expertia qualifies simulacra, with genitive animæ.

Context: The deprivation belongs to the optical images.

Source: Burton original marginal quotation

Source wording, Original construction: simulacra animæ expertia

Modern rendering, Modern wording: devoid of a soul

Alignment convention

Qualification: Original Latin component and editorial English component are separately aligned; wider constructions are retained as context.

Modern construction: images devoid of a soul

Notes: The complete mixed note was consulted, but only its original Latin is used as lexical attestation.

Translation layer: Editorial translation within the supplied Burton-labelled note; not original marginal wording and not paired modern body

pabulum (plural pabula)

Printed “pabula” (Latin).

Printed form, Original wording: pabula

Nourishment or fuel of love, paired with images in a feeding metaphor.

Context: Quoted counsel: avoid what sustains desire.

Source: original body

Source wording, Original construction: simulachra & pabula amoris

Modern rendering, Modern wording: nourishment

Alignment convention

Qualification: The aligned component is separate from the checked clause supplied as construction context.

Modern construction: images and nourishment of love

picture

Printed “picture” (English).

Burton’s English restatement uses a picture where the preceding Latin specifies a statue.

Context: Burton’s separate restatement and expansion of the Apuleian material.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.

Source wording: but as on a picture

si simulacrum ejus ad oculos penetraret

Printed “si simulachrum ejus ad oculos penetraret” (Latin).

Printed form, Source wording, Original wording, Original construction: si simulachrum ejus ad oculos penetraret

Conditional visibility of virtue, not an asserted bodily sight of it.

Context: The condition governs the claim that virtue’s image would arouse burning love.

Source: Burton original marginal quotation

Modern rendering, Modern wording, Modern construction: if its image reached our eyes

Alignment convention

Qualification: Original Latin component and editorial English component are separately aligned; wider constructions are retained as context. The English possessive our before eyes is supplied; the Latin has ad oculos without an explicit possessive.

Supplied words: our

Notes: The complete mixed note was consulted, but only its original Latin is used as lexical attestation.

Translation layer: Editorial translation within the supplied Burton-labelled note; not original marginal wording and not paired modern body

simulachra & pabula amoris

Printed “simulachra & pabula amoris” (Latin).

Citation key, Printed form, Source wording, Original wording, Original construction: simulachra & pabula amoris

Images and nourishment of love, pairing representation with the sustaining metaphor; the surrounding injunction is to flee them.

Context: Quoted counsel: avoid what sustains desire.

Source: original body

Modern rendering, Modern wording, Modern construction: images and nourishment of love

Alignment convention

Qualification: Displayed phrase has its own explained lookup record, separate from the component record(s).

simulacra animæ expertia

Printed “simulacra animæ expertia” (Latin).

Citation key, Printed form, Source wording, Original wording, Original construction: simulacra animæ expertia

Images lacking a soul or animate principle in the optical-trick explanation.

Context: Negative qualification concerns the images; it is not a universal denial of spirits.

Source: Burton original marginal quotation

Modern rendering, Modern wording, Modern construction: images devoid of a soul

Alignment convention

Qualification: Original Latin component and editorial English component are separately aligned; wider constructions are retained as context.

Notes: The complete mixed note was consulted, but only its original Latin is used as lexical attestation.

Translation layer: Editorial translation within the supplied Burton-labelled note; not original marginal wording and not paired modern body

simulacrum

Printed “simulacrum” (Latin).

Citation key, Printed form, Original wording: simulacrum

A skilfully fashioned statue, admired without a marriage proposal; used as an analogy for unrewarded learning.

Context: Burton’s adapted Apuleius quotation; onlookers admire Psyche as an artwork.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.

Source wording, Original construction: sed ut simulacrum fabre politum mirantur

Modern rendering, Modern wording: statue

Alignment convention

Qualification: The aligned component is separate from the checked clause supplied as construction context.

Modern construction: but they admire it as they would a skilfully fashioned statue

simulacrum · simulachrum · local use 1

Printed “simulachrum” (Latin).

Printed form, Original wording: simulachrum

Likeness of a divinity, part of idealizing praise provisionally granted before beauty’s transience is stressed.

Context: Burton grants the praise hypothetically, then asks how long beauty lasts.

Source: original body

Source wording, Original construction: ad simulachrum alicuius numinis composita

Modern rendering, Modern wording: likeness

Alignment convention

Qualification: The aligned component is separate from the checked clause supplied as construction context.

Modern construction: fashioned in the likeness of some divinity

simulacrum · simulachris

Printed “simulachris” (Latin).

Printed form, Original wording: simulachris

Devotional images, among objects and rites in a hostile catalogue.

Context: Bale quoted by Burton in the hypothetical Democritus survey; not a neutral account of Catholic worship.

Source: Burton original marginal quotation

Source wording, Original construction: horis, organis, cantilenis, campanis, simulachris, missis, purgatoriis

Modern rendering, Modern wording: images

Alignment convention

Qualification: Original Latin component and editorial English component are separately aligned; wider constructions are retained as context.

Modern construction: canonical hours, organs, songs, bells, images, Masses, purgatories

Notes: The complete mixed note was consulted, but only its original Latin is used as lexical attestation.

Translation layer: Editorial translation within the supplied Burton-labelled note; not original marginal wording and not paired modern body

simulacrum · simulachrum · local use 2

Printed “simulachrum” (Latin).

Printed form, Original wording: simulachrum

Silver religious image or statue of Saint John, the object of attempted theft.

Context: Gaguin report; body says if we may believe, fuller margin alleges the image turns away, and 028-11 rejects fables.

Source: Burton original marginal quotation

Source wording, Original construction: dum D. Johannis argenteum simulachrum rapere contendit

Modern rendering, Modern wording: image

Alignment convention

Qualification: Original Latin component and editorial English component are separately aligned; wider constructions are retained as context.

Modern construction: tried to steal a silver image of Saint John

Notes: The complete mixed note was consulted, but only its original Latin is used as lexical attestation.

Translation layer: Editorial translation within the supplied Burton-labelled note; not original marginal wording and not paired modern body

simulacrum · simulachrum · local use 3

Printed “simulachrum” (Latin).

Printed form, Original wording: simulachrum

The same statue is the grammatical agent of the alleged turning-away action.

Context: Reported miraculous motion in margin; no factual verification or simple authorial endorsement.

Source: Burton original marginal quotation

Source wording, Original construction: simulachrum aversa facie dorsum ei versat

Modern rendering, Modern wording: image

Alignment convention

Qualification: Original Latin component and editorial English component are separately aligned; wider constructions are retained as context.

Modern construction: the image turned its face away and its back towards him

Notes: The complete mixed note was consulted, but only its original Latin is used as lexical attestation.

Translation layer: Editorial translation within the supplied Burton-labelled note; not original marginal wording and not paired modern body

simulacrum · simulachrum · local use 4

Printed “simulachrum” (Latin).

Printed form, Original wording: simulachrum

Hypothetically visible likeness of virtue that would arouse love.

Context: Conditional marginal quotation, printed Plato Phædone; supplied note compares Phaedrus 250d.

Source: Burton original marginal quotation

Source wording, Original construction: Ardentes amores excitaret, si simulachrum ejus ad oculos penetraret

Modern rendering, Modern wording: image

Alignment convention

Qualification: Original Latin component and editorial English component are separately aligned; wider constructions are retained as context. In the wider construction, our before eyes is supplied in the editorial English, not explicit in the Latin; it is outside the simulachrum/image component alignment.

Modern construction: It would arouse burning love if its image reached our eyes

Translation supplied in construction: our

Notes: The complete mixed note was consulted, but only its original Latin is used as lexical attestation.

Translation layer: Editorial translation within the supplied Burton-labelled note; not original marginal wording and not paired modern body

simulacrum (plural simulacra) · simulachra · local use 1

Printed “simulachra” (Latin).

Printed form, Original wording: simulachra

Images of an absent beloved; the supplied note also identifies the Lucretian background of image-films.

Context: Lucretius quoted by Burton in an erotic-remembrance catalogue; absent beloved represented, not bodily present.

Source: original body

Source wording, Original construction: Nam si abest quod ames, præsto simulachra tamen sunt Illius

Modern rendering, Modern wording: images

Alignment convention

Qualification: The aligned component is separate from the checked clause supplied as construction context.

Modern construction: For if the one you love is absent, images are still at hand

Translation implicit words: Illius (of that person/the beloved) is left implicit in the modern construction, whose preceding the one you love supplies the referent.

simulacrum (plural simulacra) · simulachra · local use 2

Printed “simulachra” (Latin).

Printed form, Original wording: simulachra

Images that sustain or renew love and are to be avoided in the cited cure advice.

Context: Lucretian prescription quoted by Burton; command to redirect attention.

Source: original body

Source wording, Original construction: Et fugitare decet simulachra & pabula amoris

Modern rendering, Modern wording: images

Alignment convention

Qualification: The aligned component is separate from the checked clause supplied as construction context.

Modern construction: And flee the images and nourishment of love

simulacrum (plural simulacra) · simulacra

Printed “simulacra” (Latin).

Printed form, Original wording: simulacra

Optically produced likenesses without a soul, mistaken for demons or shades.

Context: Agrippa quoted by Burton; inexperienced spectators misidentify lifeless images; next passage still allows demonic agency.

Source: Burton original marginal quotation

Source wording, Original construction: quum nihil sint aliud, quam simulacra animæ expertia

Modern rendering, Modern wording: images

Alignment convention

Qualification: Original Latin component and editorial English component are separately aligned; wider constructions are retained as context.

Modern construction: when these are only images devoid of a soul

Notes: The complete mixed note was consulted, but only its original Latin is used as lexical attestation.

Translation layer: Editorial translation within the supplied Burton-labelled note; not original marginal wording and not paired modern body

simulacrum fabre politum

Printed “simulacrum fabre politum” (Latin phrase).

Citation key, Printed form, Original wording, Original construction: simulacrum fabre politum

The complete phrase specifies the fashioned statue; fabre politum supplies artistic workmanship.

Context: Apuleian scene adapted by Burton.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.

Source wording: sed ut simulacrum fabre politum mirantur

Modern rendering, Modern wording, Modern construction: a skilfully fashioned statue

Alignment convention

Qualification: The wider original quotation remains as evidence; the checked construction is narrowed to the corresponding noun phrase, matching a skilfully fashioned statue.