{"id":63,"date":"2026-06-12T16:26:13","date_gmt":"2026-06-12T15:26:13","guid":{"rendered":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/chapter\/oer-module-lucretius-de-rerum-natura-book-iv-lines-54-126\/"},"modified":"2026-06-17T14:34:30","modified_gmt":"2026-06-17T13:34:30","slug":"oer-module-lucretius-de-rerum-natura-book-iv-lines-54-126","status":"publish","type":"chapter","link":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/chapter\/oer-module-lucretius-de-rerum-natura-book-iv-lines-54-126\/","title":{"raw":"Lucretius, De rerum natura, Book IV (Lines 54\u2013126)","rendered":"Lucretius, De rerum natura, Book IV (Lines 54\u2013126)"},"content":{"raw":"
\n

Introductory Context<\/b>\u00a0This section of Book IV provides the physical evidence for Lucretius\u2019 theory of\u00a0simulacra<\/i>. As\u00a0Albert Einstein<\/b>\u00a0observed in his 1923 foreword, Lucretius demonstrates a \u201cfirm confidence\u201d in the \u201ccausal connectedness\u201d of the world, using visible phenomena\u2014like the skins shed by cicadas\u2014to explain the invisible mechanics of vision. This rigorous scientific inquiry would have been presented in the \u201cwonderfully elegant\u201d italic type of the\u00a01515 Aldine edition<\/b>, a volume\u00a0David Attenborough<\/b>\u00a0identifies as a primary example of how human experience is \u201chanded down from generation to generation\u201d.<\/span><\/span><\/p>\n

Parallel Text: The Emission of Images and the Limits of Sensation<\/span><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

Hermann Diels (1923) Latin Text<\/b><\/p>\n<\/th>\n

\n

Parallel English Translation<\/b><\/p>\n<\/th>\n<\/tr>\n

\n

DE SIMVLACRIS (Continued)<\/b><\/p>\n<\/td>\n

<\/td>\n<\/tr>\n
\n

54<\/b>\u00a0Principio quoniam mittunt in rebus apertis<\/p>\n<\/td>\n

\n

54<\/b>\u00a0First, since many things in the open world emit<\/p>\n<\/td>\n<\/tr>\n

\n

55<\/b>\u00a0Corpora res multae, partim diffusa solute,<\/p>\n<\/td>\n

\n

55<\/b>\u00a0bodies, some loosely diffused,<\/p>\n<\/td>\n<\/tr>\n

\n

56<\/b>\u00a0robora ceu fumum mittunt ignesque uaporem,<\/p>\n<\/td>\n

\n

56<\/b>\u00a0as logs emit smoke and fires emit heat,<\/p>\n<\/td>\n<\/tr>\n

\n

57<\/b>\u00a0et partim contexta magis condensaque, ut olim<\/p>\n<\/td>\n

\n

57<\/b>\u00a0and some more closely woven and dense, as when<\/p>\n<\/td>\n<\/tr>\n

\n

58<\/b>\u00a0cum teretis ponunt tunicas aestate cicadae,<\/p>\n<\/td>\n

\n

58<\/b>\u00a0the cicadas lay aside their smooth films in summer,<\/p>\n<\/td>\n<\/tr>\n

\n

59<\/b>\u00a0et uituli cum membranas de corpore summo<\/p>\n<\/td>\n

\n

59<\/b>\u00a0and when calves at birth drop the membranes<\/p>\n<\/td>\n<\/tr>\n

\n

60<\/b>\u00a0nascentes mittunt, et item cum lubrica serpens<\/p>\n<\/td>\n

\n

60<\/b>\u00a0from their body\u2019s surface, and as the slippery serpent<\/p>\n<\/td>\n<\/tr>\n

\n

61<\/b>\u00a0exuit in spinis uestem: nam saepe uidemus<\/p>\n<\/td>\n

\n

61<\/b>\u00a0leaves its vesture among the thorns; for we often see<\/p>\n<\/td>\n<\/tr>\n

\n

62<\/b>\u00a0illorum spoliis uepres uolitantibus auctas.<\/p>\n<\/td>\n

\n

62<\/b>\u00a0the briars enriched with their flying spoils.<\/p>\n<\/td>\n<\/tr>\n

\n

63<\/b>\u00a0quae quoniam fiunt, tenuis quoque debet imago<\/p>\n<\/td>\n

\n

63<\/b>\u00a0Since these things occur, a thin image must also<\/p>\n<\/td>\n<\/tr>\n

\n

64<\/b>\u00a0ab rebus mittit, summo de corpore rerum.<\/p>\n<\/td>\n

\n

64<\/b>\u00a0be sent from things, from the surface of objects.<\/p>\n<\/td>\n<\/tr>\n

\n

\u2026<\/p>\n<\/td>\n

\n

\u2026<\/p>\n<\/td>\n<\/tr>\n

\n

110<\/b>\u00a0Nunc age, quam tenui natura constet imago<\/p>\n<\/td>\n

\n

110<\/b>\u00a0Come now, learn how thin is the nature of an image.<\/p>\n<\/td>\n<\/tr>\n

\n

111<\/b>\u00a0percipe. et in primis, quoniam primordia tantum<\/p>\n<\/td>\n

\n

111<\/b>\u00a0And first, since the first-beginnings are so far<\/p>\n<\/td>\n<\/tr>\n

\n

112<\/b>\u00a0sunt infra nostros sensus tantoque minora<\/p>\n<\/td>\n

\n

112<\/b>\u00a0below our senses and so much smaller<\/p>\n<\/td>\n<\/tr>\n

\n

113<\/b>\u00a0quam quae primum oculi coeptant non posse tueri,<\/p>\n<\/td>\n

\n

113<\/b>\u00a0than those things which the eyes first begin to lose,<\/p>\n<\/td>\n<\/tr>\n

\n

114<\/b>\u00a0nunc tarnen id quoque uti confirmem, exordia rerum<\/p>\n<\/td>\n

\n

114<\/b>\u00a0yet that I may confirm this also, learn in a few words<\/p>\n<\/td>\n<\/tr>\n

\n

115<\/b>\u00a0cunctarum quam sint suptilia percipe paucis.<\/p>\n<\/td>\n

\n

115<\/b>\u00a0how subtle are the beginnings of all things.<\/p>\n<\/td>\n<\/tr>\n

\n

115a QVAM PARVA SINT ANIMALIA<\/b><\/p>\n<\/td>\n

\n

115a ON THE SMALLNESS OF ANIMALS<\/b><\/p>\n<\/td>\n<\/tr>\n

\n

116<\/b>\u00a0Primum animalia sunt iam partim tantula, corum<\/p>\n<\/td>\n

\n

116<\/b>\u00a0First, there are some animals already so small,<\/p>\n<\/td>\n<\/tr>\n

\n

117<\/b>\u00a0tertia pars nulla possit ratione uideri.<\/p>\n<\/td>\n

\n

117<\/b>\u00a0that a third part of them could by no means be seen.<\/p>\n<\/td>\n<\/tr>\n

\n

118<\/b>\u00a0horum intestinum quoduis quale esse putandumst!<\/p>\n<\/td>\n

\n

118<\/b>\u00a0What must we think of any internal organ of these!<\/p>\n<\/td>\n<\/tr>\n

\n

119<\/b>\u00a0quid cordis globus aut oculi? quid membra? quid artus?<\/p>\n<\/td>\n

\n

119<\/b>\u00a0What of the heart\u2019s ball or the eyes? What of the limbs?<\/p>\n<\/td>\n<\/tr>\n

\n

120<\/b>\u00a0quantula sunt, quid praeterea primordia quaeque,<\/p>\n<\/td>\n

\n

120<\/b>\u00a0How small they are! What of the various first-beginnings<\/p>\n<\/td>\n<\/tr>\n

\n

121<\/b>\u00a0unde anima atque animi constet natura necessumst,<\/p>\n<\/td>\n

\n

121<\/b>\u00a0from which the nature of the soul and mind must consist?<\/p>\n<\/td>\n<\/tr>\n

\n

122<\/b>\u00a0nonne uides quam sint subtilia quamque minuta?<\/p>\n<\/td>\n

\n

122<\/b>\u00a0Do you not see how subtle and minute they are?<\/p>\n<\/td>\n<\/tr>\n

\n

\u2026<\/p>\n<\/td>\n

\n

\u2026<\/p>\n<\/td>\n<\/tr>\n

\n

126<\/b>\u00a0habrotonique graues et tristia centaurea,<\/p>\n<\/td>\n

\n

126<\/b>\u00a0and heavy southernwood and bitter centaury,<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Critical Apparatus (Diels, 1923)<\/span><\/span><\/p>\n

Testimonia<\/b><\/span><\/span><\/p>\n\n

    \n \t
  • \n

    Line 51:<\/b>\u00a0Cited by\u00a0Nonius<\/b>\u00a0(199, 35) regarding the term\u00a0membranae<\/i>.<\/span><\/span><\/p>\n<\/li>\n \t

  • \n

    Lines 61\u201362:<\/b>\u00a0Cited by\u00a0Nonius<\/b>\u00a0(231, 17 and 458, 3) for the description of the serpent\u2019s shed skin.<\/span><\/span><\/p>\n<\/li>\n \t

  • \n

    Line 118:<\/b>\u00a0Nonius<\/b>\u00a0(209, 15) cites this line regarding the diminutive size of animal organs.<\/span><\/span><\/p>\n<\/li>\n<\/ul>\n

    Codices (Manuscript Variants)<\/b><\/span><\/span><\/p>\n\n

      \n \t
    • \n

      Line 51:<\/b>\u00a0Nonius<\/b>\u00a0and the Italian codices read\u00a0quae quasi<\/i>, whereas\u00a0O<\/b>\u00a0reads\u00a0Qui quasi<\/i>\u00a0and\u00a0Q<\/b>\u00a0reads\u00a0Quasi<\/i>.<\/span><\/span><\/p>\n<\/li>\n \t

    • \n

      Line 53:<\/b>\u00a0O<\/b>\u00a0reads\u00a0fusca<\/i>, but\u00a0Q<\/b>\u00a0correctly preserves\u00a0fusa<\/i>\u00a0(spread out).<\/span><\/span><\/p>\n<\/li>\n \t

    • \n

      Line 62:<\/b>\u00a0Nonius<\/b>\u00a0(458) reads\u00a0uere<\/i>\u00a0for\u00a0uepres<\/i>\u00a0(briars).<\/span><\/span><\/p>\n<\/li>\n \t

    • \n

      Line 116:<\/b>\u00a0Diels follows\u00a0Lachmann<\/b>\u00a0in reading\u00a0corum<\/i>\u00a0for\u00a0eorum<\/i>\u00a0to maintain the archaic flavor of the archetype.<\/span><\/span><\/p>\n<\/li>\n \t

    • \n

      Line 118:<\/b>\u00a0Nonius<\/b>\u00a0reads\u00a0horum<\/i>\u00a0and\u00a0eis<\/i>\u00a0(for\u00a0esse<\/i>), while\u00a0O<\/b>\u00a0and\u00a0Q<\/b>\u00a0read\u00a0Harum<\/i>\u00a0and\u00a0esse<\/i>.<\/span><\/span><\/p>\n<\/li>\n<\/ul>\nPrevious\/next navigation\n\n<\/div>","rendered":"

      \n

      Introductory Context<\/b>\u00a0This section of Book IV provides the physical evidence for Lucretius\u2019 theory of\u00a0simulacra<\/i>. As\u00a0Albert Einstein<\/b>\u00a0observed in his 1923 foreword, Lucretius demonstrates a \u201cfirm confidence\u201d in the \u201ccausal connectedness\u201d of the world, using visible phenomena\u2014like the skins shed by cicadas\u2014to explain the invisible mechanics of vision. This rigorous scientific inquiry would have been presented in the \u201cwonderfully elegant\u201d italic type of the\u00a01515 Aldine edition<\/b>, a volume\u00a0David Attenborough<\/b>\u00a0identifies as a primary example of how human experience is \u201chanded down from generation to generation\u201d.<\/span><\/span><\/p>\n

      Parallel Text: The Emission of Images and the Limits of Sensation<\/span><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
      \n

      Hermann Diels (1923) Latin Text<\/b><\/p>\n<\/th>\n

      		\n

      Parallel English Translation<\/b><\/p>\n<\/th>\n<\/tr>\n

      \n

      DE SIMVLACRIS (Continued)<\/b><\/p>\n<\/td>\n

      		<\/td>\n<\/tr>\n
      \n

      54<\/b>\u00a0Principio quoniam mittunt in rebus apertis<\/p>\n<\/td>\n

      		\n

      54<\/b>\u00a0First, since many things in the open world emit<\/p>\n<\/td>\n<\/tr>\n

      \n

      55<\/b>\u00a0Corpora res multae, partim diffusa solute,<\/p>\n<\/td>\n

      		\n

      55<\/b>\u00a0bodies, some loosely diffused,<\/p>\n<\/td>\n<\/tr>\n

      \n

      56<\/b>\u00a0robora ceu fumum mittunt ignesque uaporem,<\/p>\n<\/td>\n

      		\n

      56<\/b>\u00a0as logs emit smoke and fires emit heat,<\/p>\n<\/td>\n<\/tr>\n

      \n

      57<\/b>\u00a0et partim contexta magis condensaque, ut olim<\/p>\n<\/td>\n

      		\n

      57<\/b>\u00a0and some more closely woven and dense, as when<\/p>\n<\/td>\n<\/tr>\n

      \n

      58<\/b>\u00a0cum teretis ponunt tunicas aestate cicadae,<\/p>\n<\/td>\n

      		\n

      58<\/b>\u00a0the cicadas lay aside their smooth films in summer,<\/p>\n<\/td>\n<\/tr>\n

      \n

      59<\/b>\u00a0et uituli cum membranas de corpore summo<\/p>\n<\/td>\n

      		\n

      59<\/b>\u00a0and when calves at birth drop the membranes<\/p>\n<\/td>\n<\/tr>\n

      \n

      60<\/b>\u00a0nascentes mittunt, et item cum lubrica serpens<\/p>\n<\/td>\n

      		\n

      60<\/b>\u00a0from their body\u2019s surface, and as the slippery serpent<\/p>\n<\/td>\n<\/tr>\n

      \n

      61<\/b>\u00a0exuit in spinis uestem: nam saepe uidemus<\/p>\n<\/td>\n

      		\n

      61<\/b>\u00a0leaves its vesture among the thorns; for we often see<\/p>\n<\/td>\n<\/tr>\n

      \n

      62<\/b>\u00a0illorum spoliis uepres uolitantibus auctas.<\/p>\n<\/td>\n

      		\n

      62<\/b>\u00a0the briars enriched with their flying spoils.<\/p>\n<\/td>\n<\/tr>\n

      \n

      63<\/b>\u00a0quae quoniam fiunt, tenuis quoque debet imago<\/p>\n<\/td>\n

      		\n

      63<\/b>\u00a0Since these things occur, a thin image must also<\/p>\n<\/td>\n<\/tr>\n

      \n

      64<\/b>\u00a0ab rebus mittit, summo de corpore rerum.<\/p>\n<\/td>\n

      		\n

      64<\/b>\u00a0be sent from things, from the surface of objects.<\/p>\n<\/td>\n<\/tr>\n

      \n

      \u2026<\/p>\n<\/td>\n

      		\n

      \u2026<\/p>\n<\/td>\n<\/tr>\n

      \n

      110<\/b>\u00a0Nunc age, quam tenui natura constet imago<\/p>\n<\/td>\n

      		\n

      110<\/b>\u00a0Come now, learn how thin is the nature of an image.<\/p>\n<\/td>\n<\/tr>\n

      \n

      111<\/b>\u00a0percipe. et in primis, quoniam primordia tantum<\/p>\n<\/td>\n

      		\n

      111<\/b>\u00a0And first, since the first-beginnings are so far<\/p>\n<\/td>\n<\/tr>\n

      \n

      112<\/b>\u00a0sunt infra nostros sensus tantoque minora<\/p>\n<\/td>\n

      		\n

      112<\/b>\u00a0below our senses and so much smaller<\/p>\n<\/td>\n<\/tr>\n

      \n

      113<\/b>\u00a0quam quae primum oculi coeptant non posse tueri,<\/p>\n<\/td>\n

      		\n

      113<\/b>\u00a0than those things which the eyes first begin to lose,<\/p>\n<\/td>\n<\/tr>\n

      \n

      114<\/b>\u00a0nunc tarnen id quoque uti confirmem, exordia rerum<\/p>\n<\/td>\n

      		\n

      114<\/b>\u00a0yet that I may confirm this also, learn in a few words<\/p>\n<\/td>\n<\/tr>\n

      \n

      115<\/b>\u00a0cunctarum quam sint suptilia percipe paucis.<\/p>\n<\/td>\n

      		\n

      115<\/b>\u00a0how subtle are the beginnings of all things.<\/p>\n<\/td>\n<\/tr>\n

      \n

      115a QVAM PARVA SINT ANIMALIA<\/b><\/p>\n<\/td>\n

      		\n

      115a ON THE SMALLNESS OF ANIMALS<\/b><\/p>\n<\/td>\n<\/tr>\n

      \n

      116<\/b>\u00a0Primum animalia sunt iam partim tantula, corum<\/p>\n<\/td>\n

      		\n

      116<\/b>\u00a0First, there are some animals already so small,<\/p>\n<\/td>\n<\/tr>\n

      \n

      117<\/b>\u00a0tertia pars nulla possit ratione uideri.<\/p>\n<\/td>\n

      		\n

      117<\/b>\u00a0that a third part of them could by no means be seen.<\/p>\n<\/td>\n<\/tr>\n

      \n

      118<\/b>\u00a0horum intestinum quoduis quale esse putandumst!<\/p>\n<\/td>\n

      		\n

      118<\/b>\u00a0What must we think of any internal organ of these!<\/p>\n<\/td>\n<\/tr>\n

      \n

      119<\/b>\u00a0quid cordis globus aut oculi? quid membra? quid artus?<\/p>\n<\/td>\n

      		\n

      119<\/b>\u00a0What of the heart\u2019s ball or the eyes? What of the limbs?<\/p>\n<\/td>\n<\/tr>\n

      \n

      120<\/b>\u00a0quantula sunt, quid praeterea primordia quaeque,<\/p>\n<\/td>\n

      		\n

      120<\/b>\u00a0How small they are! What of the various first-beginnings<\/p>\n<\/td>\n<\/tr>\n

      \n

      121<\/b>\u00a0unde anima atque animi constet natura necessumst,<\/p>\n<\/td>\n

      		\n

      121<\/b>\u00a0from which the nature of the soul and mind must consist?<\/p>\n<\/td>\n<\/tr>\n

      \n

      122<\/b>\u00a0nonne uides quam sint subtilia quamque minuta?<\/p>\n<\/td>\n

      		\n

      122<\/b>\u00a0Do you not see how subtle and minute they are?<\/p>\n<\/td>\n<\/tr>\n

      \n

      \u2026<\/p>\n<\/td>\n

      		\n

      \u2026<\/p>\n<\/td>\n<\/tr>\n

      \n

      126<\/b>\u00a0habrotonique graues et tristia centaurea,<\/p>\n<\/td>\n

      		\n

      126<\/b>\u00a0and heavy southernwood and bitter centaury,<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

      Critical Apparatus (Diels, 1923)<\/span><\/span><\/p>\n

      Testimonia<\/b><\/span><\/span><\/p>\n

        \n
      • \n

        Line 51:<\/b>\u00a0Cited by\u00a0Nonius<\/b>\u00a0(199, 35) regarding the term\u00a0membranae<\/i>.<\/span><\/span><\/p>\n<\/li>\n

      • \n

        Lines 61\u201362:<\/b>\u00a0Cited by\u00a0Nonius<\/b>\u00a0(231, 17 and 458, 3) for the description of the serpent\u2019s shed skin.<\/span><\/span><\/p>\n<\/li>\n

      • \n

        Line 118:<\/b>\u00a0Nonius<\/b>\u00a0(209, 15) cites this line regarding the diminutive size of animal organs.<\/span><\/span><\/p>\n<\/li>\n<\/ul>\n

        Codices (Manuscript Variants)<\/b><\/span><\/span><\/p>\n

          \n
        • \n

          Line 51:<\/b>\u00a0Nonius<\/b>\u00a0and the Italian codices read\u00a0quae quasi<\/i>, whereas\u00a0O<\/b>\u00a0reads\u00a0Qui quasi<\/i>\u00a0and\u00a0Q<\/b>\u00a0reads\u00a0Quasi<\/i>.<\/span><\/span><\/p>\n<\/li>\n

        • \n

          Line 53:<\/b>\u00a0O<\/b>\u00a0reads\u00a0fusca<\/i>, but\u00a0Q<\/b>\u00a0correctly preserves\u00a0fusa<\/i>\u00a0(spread out).<\/span><\/span><\/p>\n<\/li>\n

        • \n

          Line 62:<\/b>\u00a0Nonius<\/b>\u00a0(458) reads\u00a0uere<\/i>\u00a0for\u00a0uepres<\/i>\u00a0(briars).<\/span><\/span><\/p>\n<\/li>\n

        • \n

          Line 116:<\/b>\u00a0Diels follows\u00a0Lachmann<\/b>\u00a0in reading\u00a0corum<\/i>\u00a0for\u00a0eorum<\/i>\u00a0to maintain the archaic flavor of the archetype.<\/span><\/span><\/p>\n<\/li>\n

        • \n

          Line 118:<\/b>\u00a0Nonius<\/b>\u00a0reads\u00a0horum<\/i>\u00a0and\u00a0eis<\/i>\u00a0(for\u00a0esse<\/i>), while\u00a0O<\/b>\u00a0and\u00a0Q<\/b>\u00a0read\u00a0Harum<\/i>\u00a0and\u00a0esse<\/i>.<\/span><\/span><\/p>\n<\/li>\n<\/ul>\n

          Previous\/next navigation<\/p>\n<\/div>\n","protected":false},"author":1,"menu_order":23,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-63","chapter","type-chapter","status-publish","hentry"],"part":18,"_links":{"self":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapters\/63","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/users\/1"}],"version-history":[{"count":1,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapters\/63\/revisions"}],"predecessor-version":[{"id":64,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapters\/63\/revisions\/64"}],"part":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/parts\/18"}],"metadata":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapters\/63\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/media?parent=63"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapter-type?post=63"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/contributor?post=63"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/license?post=63"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}