what is appropriate to each person. For to one man it is consistent with reason to hold a chamber pot for another, and to look to this only, that if he does not hold it, he will receive stripes, and he will not receive his food: but if he shall hold the pot, he will not suffer anything hard or disagreeable. But to another man not only does the holding of a chamber pot appear intolerable for himself, but intolerable also for him to allow another to do this office for him. If then you ask me whether you should hold the chamber pot or not, I shall say to you that the receiving of food is worth more than the not receiving of it, and the being scourged is a greater indignity than not being scourged; so that if you measure your interests by these things, go and hold the chamber pot. "But this," you say, "would not be worthy of me." Well then, it is you who must introduce this consideration into the inquiry, not I; for it is you who know yourself, how much you are worth to yourself, and at what price you sell yourself; for men sell themselves at various prices.
For this reason, when Florus was deliberating whether he should go down to Nero's[1] spectacles, and also perform in them himself, Agrippinus said to him, Go down: and when Florus asked Agrippinus, Why do not you go down? Agrippinus replied, Because I do not even deliberate about the matter. For he who has once brought himself to deliberate about such matters, and to calculate the value of external things, comes very near to those who have forgotten their own character. For why do you ask me the question, whether death is preferable or life? I say life. Pain or pleasure? I say pleasure. But if I do not take a part in the tragic acting, I shall have my head struck off. Go then and take a part, but I will not. Why? Because you consider yourself to be only one thread of those which are in the tunic. Well then it was fitting for you to take care how you should be like the rest of men, just as the thread has no design to be anything
- ↑ Nero was passionately fond of scenic representations, and used to induce the descendants of noble families, whose poverty made them consent, to appear on the stage (Tacitus, Annals, xiv. 14; Suetonius, Nero. c. 21).
