The great evil of the passions does not lie in the torments which they bring upon men, but in the faults and shameful actions they cause him to commit. Were it not for this drawback they would have too great an advantage over cold reason, which can never be productive of happiness. His passions make man live, his wisdom only makes him last.
[tr. Mathers (1926)]

The unfortunate thing about passions is not the misery they make one commit, and which degrade man. Without these disadvantages, they would overpower cold reason, which does not in the least a source of happiness. Passions make men live, wisdom only makes the endure.
[tr. Pearson (1973)]

The great disaster of passions is not the torment they cause, but the debasing errors and depravity into which they lead men. Without these drawbacks, passion would enjoy many advantages over cold reason, which never produces happiness. Passions enable men to live, wisdom merely enables them to survive.
[tr. Dusinberre (1992)]

The great misfortune of passions does not come from the torments that they cause, but from the base things they make a person do, and which degrade him. Without these inconveniences, they would have too many advantages over cold reason, which never makes people happy. Passions make a man live, wisdom and facts only make him endure.
[tr. Siniscalchi (1994)]

The most general survey shows that pain and boredom are the two foes of human happiness.
[tr. Payne (1974)]

The safest way of life, is neither
To tempt the Deeps, nor whilst foul weather
You fearfully avoid, too near
The shore to steer.
He that affects the Golden Mean,
Will neither want a house that's clean,
Nor swell unto the place of showres
His envy'd Towres.
[tr. Fanshaw; ed. Brome (1666)]

Wise they, that with a cautious fear
Not always thro the Ocean Steer,
Nor, whilst they think the Winds will roar,
Do thrust too near the rocky Shore:
To those that choose the golden Mean:
The Waves are smooth, the Skies serene;
They want the baseness of the Poors retreat,
And envy'd Houses of the Great.
[tr. Creech (1684)]

Receive, dear friend, the truths I teach,
So shalt thou live beyond the reach
Of adverse fortunes pow'r;
Not always tempt the distant deep,
Nor always timorously creep
Along the treach'rous shore.
He that holds fast the golden mean,
And lives contentedly between
The little and the great,
Feels not the wants that pinch the poor,
Nor plagues that haunt the rich man's door,
Imbitt'ring all his state.
[tr. Cowper (1782?)]

O Licinius, you will lead a more correct course of life, by neither always pursuing the main ocean, nor, while you cautiously are in dread of storms, by pressing too much upon the hazardous shore. Whosoever loves the golden mean, is secure from the sordidness of an antiquated cell, and is too prudent to have a palace that might expose him to envy.
[tr. Smart/Buckley (1853)]

If thou wouldst live secure and free,
Thou wilt not keep far out at sea,
Licinius, evermore;
Nor, fearful of the gales that sweep
The ocean wide, too closely creep
Along the treacherous shore.
The man, who with a soul serene
Doth cultivate the golden mean,
Escapes alike from all
The squalor of a sordid cot,
And from the jealousies begot
By wealth in lordly hall.
[tr. Martin (1864)]

Licinius, wouldst thou steer life's wiser voyage,
Neither launch always into deep mid-waters,
Nor hug the shores, and, shrinking from the tempest,
Hazard the quicksand.
He who elects the golden mean of fortune,
Nor where dull squalor rots the time-worn hovel,
Nor where fierce envy storms the new-built palace,
Makes his safe dwelling.
[tr. Bulwer-Lytton (1870)]

Neither always tempt the deep,
Nor, Licinius, always keep,
Fearing storms, the slippery beach:
Such the rule of life I teach.
Golden is the middle state;
Love the middle gifts of fate,
Not the sloven squalid cot,
Proud and envied palace not.
[tr. Gladstone (1894)]

Better, Licinius, wilt thou live, by neither
Tempting the deep for ever, nor, while tempests
Cautiously shunning, by too closely hugging
Shores that are treach'rous.
He who the golden mean adopts, is ever
Free from the sorrows of a squalid dwelling; --
Free from the cares attending on the envied
Halls of the wealthy.
[tr. Phelps (1897)]

Licinius, better wilt thou live by neither urging
Alway out to sea, nor, while on guard 'gainst storms
Thou shudderest, by pressing an evil shore
Too close.
Whoever courts a golden mean is safe
To escape the squalor of a mouldered roof.
And shrewd to escape a paJace that may
Be grudged to him.
[tr. Garnsey (1907)]

Safer thou'lt sail life's voyage, if them steer
Neither right out to sea, nor yet, when rise
The threat'ning tempests, hug the shore too near,
Unwisely wise.
What man soe'er the golden mean doth choose,
Prudent will shun the hovel's foul decay;
But with like sense, a palace will refuse
And vain display.
[tr. Marshall (1908)]

Better wilt thou live, Licinius, by neither always pressing out to sea nor too closely hugging the dangerous shore in cautious fear of storms. Whoso cherishes the golden mean, safely avoids the foulness of an ill-kept house and discreetly, too, avoids a hall exciting envy.
[tr. Bennett (Loeb) (1912)]

Licinius, would you live aright,
Tempt not the high seas evermore,
Nor, fearing tempests, in your fright
Too closely hug the dangerous shore.
Who loves the golden mean is free
And safe from grime -- the grime a house
Harbours in eld; his modesty
Earns not the envy mansions rouse.
[tr. Mills (1924)]

Sail not too far to be safe, O Licinius!
Neither too close to the shore should you steer.
Rashness is foolish, and how ignominious
Cowardly fear!
He who possesses neither palace nor hovel
(My little flat would be half way between)
Hasn't a house at which paupers must grovel
Yet it is clean.
[tr. Adams (1928)]

Licinius, to live wisely shun
The deep sea; on the other hand,
Straining to dodge the storm don't run
Too close in to the jagged land.
All who love safety make their prize
The golden mean and hate extremes:
Mansions are envied for their size,
Slums pitied for their rotting beams.
[tr. Michie (1963)]

Licinius, life makes better sense
Lived neither pushing farther and farther
To sea, nor always hugging the dangerous
Shore, shaking at the thought of storms.
Cherish a golden mean and stay
Exempt from a filthy hovel
And exempt from the envy
A mansion excites.
[tr. Raffel (1983)]

You'll do better, Licinius, not to spend your life
Venturing too far out on the dangerous waters,
Or else, for fear of storms, staying too close in
To the dangerous rocky shoreline, That man does best
Who chooses the middle way, so he doesn't end up
Living under a roof that's going to ruin
Or in some gorgeous mansion everyone envies.
[tr. Ferry (1997)]

Better will you live, O Licinius, not always urging yourself out upon the high seas, nor ever hugging the insidious shore in fear of storms. He who esteems the golden mean safely avoids the squalor of a wretched house and in sobriety, equally shuns the enviable palace.
[tr. Alexander (1999)]

You’ll live more virtuously, my Murena,
by not setting out to sea, while you’re in dread
of the storm, or hugging fatal shores
too closely, either.
Whoever takes delight in the golden mean,
safely avoids the squalor of a shabby house,
and, soberly, avoids the regal palace
that incites envy.
[tr. Kline (2015)]

The more deale of us Poets, both the olde, and younge most parte,
Are ofte begylde by shewe of good, affectinge to muche arte.
I laboure to be verye breife, it makes me verye harde.
I followe flowinge easynes, my style is clearely marde
For lacke of pith and saverye sence, Write loftie, thou shalte swell:
He creepes by the grounde to lowe, afrayde with stormie vayne to mell.
He that in varyinge one pointe muche would bringe forth monstruouse store,
Would make the dolphin dwell in wooddes and in the flud the bore.
The shunning of a faulte is such that now and then it will
Procure a greater faulte, if it be not eschewde by skill.
[tr. Drant (1567)]

The greater part, that boast the Muses fire
Father, and sons right worthy of your Sire,
Are with the likenesse of the truth beguil'd:
My selfe for shortnesse labour, and am stil'd
Obscure. Another striving smooth to runne,
Wants strength, and sinewes, as his spirits were done;
His Muse professing height, and greatnesse, swells;
Downe close by shore, this other creeping steales,
Being over-safe, and fearing of the flaw:
So he that varying still affects to draw
One thing prodigiously, paints in the woods
A Dolphin and a Boare amidst the floods:
The shunning vice, to greater vice doth lead,
If in th'escape an artlesse path we tread.
[tr. Jonson (1640), l. 33ff]

Most Poets fall into the grossest faults,
Deluded by a seeming Excellence:
By striving to be short, they grow Obscure,
And when they would write smoothly they want strength,
Their Spirits sink; while others that affect,
A lofty Stile, swell to a Tympany;
Some timerous wretches start at every blast,
And fearing Tempests, dare not leave the Shore.
Others in love with wild variety,
Draw Boars in Waves, and Dolphins in a Wood;
Thus fear of Erring, joyn'd with want of Skill,
Is a most certain way of Erring still.
[tr. Roscommon (1680)]

But oft, our greatest errors take their rise
From our best views. I strive to be concise;
I prove obscure. My strength, my fire decays,
When in pursuit of elegance and ease.
Aiming at greatness, some to fustian soar;
Some in cold safety creep along the shore,
Too much afraid of storms; while he, who tries
With ever-varying wonders to surprise,
In the broad forest bids his dolphins play,
And paints his boars disporting in the sea.
Thus, injudicious, while one fault we shun,
Into its opposite extreme we run.
[tr. Francis (1747)]

Lov'd sire! lov'd sons, well worthy such a sire!
Most bards are dupes to beauties they admire.
Proud to be brief, for brevity must please,
I grow obscure; the follower of ease
Wants nerve and soul; the lover of sublime
Swells to bombast; while he who dreads that crime,
Too fearful of the whirlwind rising round,
A wretched reptile, creeps along the ground.
The bard, ambitious fancies who displays,
And tortures one poor thought a thousand ways,
Heaps prodigies on prodigies; in woods
Pictures the dolphin, and the boar in floods!
Thus ev'n the fear of faults to faults betrays,
Unless a master-hand conduct the lays.
[tr. Coleman (1783)]

The great majority of us poets, father, and youths worthy such a father, are misled by the appearance of right. I labor to be concise, I become obscure: nerves and spirit fail him, that aims at the easy: one, that pretends to be sublime, proves bombastical: he who is too cautious and fearful of the storm, crawls along the ground: he who wants to vary his subject in a marvelous manner, paints the dolphin in the woods, the boar in the sea. The avoiding of an error leads to a fault, if it lack skill.
[tr. Smart/Buckley (1853)]

Ye worthy trio! we poor sons of song
Oft find 'tis fancied right that leads us wrong.
I prove obscure in trying to be terse;
Attempts at ease emasculate my verse;
Who aims at grandeur into bombast falls;
Who fears to stretch his pinions creeps and crawls;
Who hopes by strange variety to please
Puts dolphins among forests, boars in seas.
Thus zeal to 'scape from error, if unchecked
By sense of art, creates a new defect.
[tr. Conington (1874)]

We poets, most of us, by the pretence,
Dear friends, are duped of seeming excellence.
We grow obscure in striving to be terse;
Aiming at ease, we enervate our verse;
For grandeur soaring, into bombast fall,
And, dreading that, like merest reptiles crawl;
Whilst he, who seeks his readers to surprise
With common things shown in uncommon wise,
Will make his dolphins through the forests roam.
His wild boars ride upon the billows' foam.
So unskilled writers, in their haste to shun
One fault, are apt into a worse to run.
[tr. Martin (1881)]

The greater part of us poets, O ye Father and Sons worthy of your parent, deceive ourselves under our illusion of what is right. I strive to write briefly, and so write obscurely. Compositions of a smooth nature argue a writer's deficiency both in force and spirit. An attempt at great subjects swells into bombast. A too cautious writer, and dreader of opposition, confines himself to common things. One who desires to amplify a single theme in an extravagant way, puts a dophin innto a wood, and a wild boar into the sea. The avoidance of one error, if unguarded by art, leads to another.
[tr. Elgood (1893)]

Most of us poets are misled by insistence upon our idea of what is right. I try to be brief and I become obscure; aiming at smoothness, we lose in vigor and spirit; attempting the sublime, we become turgid. Timid of the storm, we crawl along the ground. Thus if one lacks art, the over careful avoidance of one fault leads to another.
[tr. Dana/Dana (1911)]

Most of us poets, O father and ye sons worthy of the father, deceive ourselves by the semblance of truth. Striving to be brief, I become obscure. Aiming at smoothness, I fail in force and fire. One promising grandeur, is bombastic; another, overcautious and fearful of the gale, creeps along the ground. The man who tries to vary a single subject in monstrous fashion, is like a painter adding a dolphin to the woods, a boar to the waves. Shunning a fault may lead to error, if there be lack of art.
[tr. Fairclough (Loeb) (1926)]

Most of us poets -- O father, and sons worthy of your father, -- are misled by our idea of what is correct. I try to be terse, and end by being obscure; another strives after smoothness, to the sacrifice of vigour and spirit; a third aims at grandeur, and drops into bombast; a fourth, through an excess of caution and fear of squalls, goes creeping along the ground. He who is bent on lending variety to a theme that is by nature uniform, so as to produce an unnatural effect, is like a man who paints a dolphin in a forest or a wild boar in the waves. If artistic feeling is not there, mere avoidance of a fault leads to some worse defect.
[tr. Blakeney; ed. Kramer, Jr. (1936)]

O father, and sons who deserve a father like yours,
We poets are too often tricked into trying to achieve
A particular kind of perfection: I studiously try
To be brief, and become obscure; I try to be smooth,
And my vigor and force disappear; another assures us
Of something big which turns out to be merely pompous.
Another one crawls on the ground because he's too safe,
Too much afraid of the storm. The poet who strives
To vary his single subject in wonderful ways
Paints dolphins in woods and foaming boars on the waves.
Avoiding mistakes, if awkwardly done, leads to an error.
[tr. Palmer Bovie (1959)]

Most poets, father and young men deserving such a father,
go wrong in trying to be right: I struggle for concision,
I wind up being obscure; others try for smoothness
and lose strength, or for sublimit, and get gas.
One poet, too cautious, fears storms and craws along,
the other craves bizarre variety in a single subject
and paints a dolphin in a forest, a boar among the waves.
Fear of criticism leads to faults if we lack art.
[tr. Fuchs (1977)]

Most poets, leaders and led,
Chase a will-o’-the-wisp of abstract Right.
Thus:
I aim
at concision,
I hit
on darkness.
I aim to be smooth, my lines go slack.
The eloquent idealist rants and raves,
The timid, the gutless, crawl like beetles,
Seekers after novelty hang dolphins in trees,
Float a boar in the sea:
O rare effects!
O marvelous.
Ugh.
[tr. Raffel (1983 ed.)]

Father and worthy sons, we poets often
Know what we're aiming at, and often we miss.
I try my best to be terse, and I'm obscure;
I try for mellifluous smoothness, smooth as can be,
And the line comes out as spineless as a worm;
One poet, aiming for grandeur, booms and blusters;
Another one, scared, creeps his way under the storm;
And another, desiring to vary his single theme
In wonderful ways, produces not wonders but monsters --
Dolphins up in the trees, pigs in the ocean.
If you don't know what you're doing you can go wrong
Just out of trying to do your best to do right.
[tr. Ferry (2001)]

Poets in the main (I’m speaking to a father and his excellent sons)
are baffled by the outer form of what’s right. I strive to be brief,
and become obscure; I try for smoothness, and instantly lose
muscle and spirit; to aim at grandeur invites inflation;
excessive caution or fear of the wind induces groveling.
The man who brings in marvels to vary a simple theme
is painting a dolphin among the trees, a boar in the billows.
Avoiding a fault will lead to error if art is missing.
[tr. Rudd (2005 ed.)]

Most poets (dear sir, and you sons worthy of your sire),
Are beguiled by accepted form. I try to be brief
And become obscure: aiming at smoothness I fail
In strength and spirit: claiming grandeur he’s turgid:
Too cautious, fearing the blast, he crawls on the ground:
But the man who wants to distort something unnaturally
Paints a dolphin among the trees, a boar in the waves.
Avoiding faults leads to error, if art is lacking.
[tr. Kline (2015)]

Full text.

Thus, generally speaking, Loathing borders upon the most pleasing Sensations.
[tr. Guthrie (1755)]

Thus, generally speaking, satiety borders upon the most pleasing sensations.
[Source (1808)]

In all other things, loathing still borders upon the most exquisite delights.
[tr. Watson (1860)]

The extremes of gratification and disgust are separated by the finest line of demarcation.
[tr. Calvert (1870)]

In everything we do, all our keenest pleasures end in satiety.
[ed. Harbottle (1906)]

In everything else, then, the greatest pleasure borders on aversion.
[tr. May/Wisse (2001)]