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chapter 1chapter 2chapter 3chapter 4chapter 5chapter 6chapter 7chapter 8chapter 9chapter 10chapter 11chapter 12chapter 13chapter 14chapter 15chapter 16chapter 17chapter 18chapter 19chapter 20chapter 21chapter 22chapter 23chapter 24chapter 25chapter 26chapter 27chapter 28chapter 29chapter 30chapter 31chapter 32chapter 33chapter 34chapter 35chapter 36chapter 37chapter 38chapter 39chapter 40chapter 41chapter 42chapter 43chapter 44chapter 45chapter 46chapter 47chapter 48chapter 49chapter 50chapter 51chapter 52chapter 53chapter 54chapter 55chapter 56chapter 57chapter 58chapter 59chapter 60chapter 61chapter 62chapter 63chapter 64chapter 65chapter 66chapter 67chapter 68chapter 69chapter 70chapter 71chapter 72chapter 73chapter 74chapter 75chapter 76chapter 77chapter 78
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post hunc anulum regis alterius in fama est gemma, pyrrhi illius, qui adversus romanos bellum gessit. namque habuisse dicitur achaten, in qua novem musae et apollo citharam tenens spectarentur, non arte, sed naturae sponte ita discurrentibus maculis, ut musis quoque singulis sua redderentur insignia. nec deinde alia, quae tradatur magnopere, gemmarum claritas exstat apud auctores,
praeterquam ismenian choraulen multis fulgentibusque uti solitum, comitante fabula vanitatem eius: indicato in cypro sex aureis smaragdo, ubi erat scalpta amymone, iussisse numerari et, cum duo relati essent, "male, hercules, factum" dixisse, "multum enim detractum gemmae dignitati." hic videtur instituisse, ut omnes musicae artis hac quoque ostentatione censerentur, veluti dionysodorus, aequalis eius et aemulus, ut sic quoque non par videretur qui tertius eodem tempore inter musicos fuit: nicomachus enim multas tantum habuisse gemmas traditur, sed nulla peritia electas.
et forte quadam his exemplis initio voluminis oblatis adversus istos, qui sibi hac ostentatione adrogant, ut palam sit eos tibicinum gloria tumere:
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