Part 5

If it be said, that according to this Account, _Homer_ has the Advantage; because _all_ the Light is supposed to have been first in him, and only a _Part_ of it (tho' the greatest) transferred to _Virgil_: it must be remembered that we are only making a _Comparison_: For if it were an exact _Parallel_, we must conceive (which we are far from doing) that the _very individual_ Fire of the _Greek_ Poet was transferred into the _Roman_; and that the one ceases to exist separately from the other. But besides; admitting _Homer_ to have the Advantage _so far_ as this Objection supposes; yet still _Virgil_ has it _upon the Whole_, even with respect to Fire, of which we are now discoursing. Tho' the Light in the cloudy Shrine were _more_ than That in the Sun; yet in the Sun it is placed in a _higher_, and more _regular_ Sphere; more _aptly disposed_ for _warming_ and _illuminating_, and more _commodiously situated_ for the Delight and Benefit of Mankind. "The _Roman_ Author (we are told) seldom rises into very astonishing Sentiments, where he is not fired by the _Iliad_.[17]" Tho' I absolutely deny the Matter of Fact yet supposing it were true, still _fired he is_: The Poetical Spirit is in him, however he came by it; and that too _better_, if not _more_, than in him from whom he is imagined to have received it. How far the Reader will be of my Opinion upon this Head I know not: But to me the Truth of what I have urged resembles the _Things_ of which I have been speaking: It _shines_ like the _Light_, and _burns_ like the _Fire_.

As to _Similes_, _Homer_ is supposed to have the full Propriety of _Them_; and even the greatest Part of _Virgil_'s must be His. That a great Number of _Virgil_'s are taken from him, I deny not; but most of them are exceedingly improved by being transplanted: Tho' I believe if he had taken fewer from _Homer_, and given us more of his own, his Poem would have been so much the better. Not that he really has copy'd from _Homer_ in this Instance, near so much as some Criticks pretend; and he has more Similes entirely his own; than the aforesaid Criticks will allow him. In my Remarks I shall mention some Particulars.

Generally speaking, _Homer's Descriptions_ are admirable. But even in this View, I think Those are unjust to _Virgil_, who do not allow that he excels his Master. Consider the several Instances already cited, upon the Article of Poetical Fire; for most of them may be equally applied to This. What Images! what Paintings! what Representations of Nature! what Nature it self, do we find and feel in them! Besides a Multitude of others, which cannot now be so much as mentioned: I must here again refer to my Notes for Particulars.

For _Style_, _Diction_, and _Verification_, _Homer_, I acknowledge, is allowed the Triumph, even by the Generality of _Virgil_'s Party: particularly by _Rapin_; as he is likewise by him in the Instances of _Fire_, and _Description_, above-mentioned. However, that I may not be thought singular in my Opinion, a Character which I by no means desire; it may be considered that I agree with _Scaliger_ in his express Assertions, and with my Lord _Roscommon_ in his Hints and Insinuations, not to mention other Authorities; when I frankly declare my Sentiments, that the _Roman_ Poet is superiour to the _Grecian_ even in this Respect. The _Greek_ Language, it is true, is superiour to the _Latin_, in This, as well as in every thing else; being the most expressive, the most harmonious, the most various, rich, and fruitful, and indeed, upon all Accounts, the best Language in the World. But if notwithstanding this great Advantage, _Virgil_'s Diction and Versification be preferable to _Homer_'s; his Glory for That very Reason will be so much the greater. _Homer's Epithets_, for the most part, are in _Themselves_ exceedingly beautiful; but are not many of them _superfluous_? Whether many, nay all, of those Particles which are commonly (and indeed, I think, falsly enough) called Expletives, be significant or no, I do not now dispute: But admitting them to be so; are not too many little Words, whether _Expletives_, nay whether _Particles_, or not, often crouded together? Ἤ εἰ δή ποτέ τοι κατὰ, _&c._ and Ἦ ῥὰ νύ μοί ποτὲ καὶ σὺ, _&c._ are not, I own, very agreeable Sounds to my Ears; and many more of the same Kind are to be met with. Moreover, does not _Homer_ make an ill use of one great Privilege of his Language, (among many others) I mean That of dissolving Diphthongs, by so very frequently inserting a Word of five, or six Syllables, to drag his Sense to the End of a Verse, which concludes with the long Word aforesaid? Those Words, even at the End of a Verse, are sometimes indeed very agreeable: But are they not often otherwise? Especially at the Close of a Paragraph, or Speech; when for the most part too they are Epithets: and yet more especially, when those Epithets are of little Significancy? I shall give but one Instance, tho' it were very easy to produce many; and That shall be the last Line of the _Iliad_: Upon which, compared with the last of the _Æneis_, I cannot but think that

_Vitaque cum gemitu fugit indignata sub umbras_,

is a nobler Conclusion of an Heroic Poem, than

Ὣς οἲ γ' ἀμφίεπον τάφον Ἕκτορος ἱπποδάμοιο.

A thousand things of the same, or of the like Nature, might be mentioned: And I am aware that such Observations will by some Criticks be called _modern Criticisms_. But be That as it will; I am for Truth and Reason, whether it be called Ancient, or Modern.

To display the Excellence of _Virgil_'s Style, Diction, and Versification, cannot be the Business of this Preface: Here again I must refer to my Notes. I only observe, that nothing can be more sublime, and majestick, than some Parts; nothing more sweet, and soft, than others; nothing more harmonious, flowing, numerous, and sounding than both his Soft, and his Sublime. As to which latter, when he describes the Fury, Noise, and Confusion of War, I recollect That of my Lord _Roscommon_;

_Th'_ Æneian _Muse, when she appears in State, Makes all_ Jove's _Thunder on her Verses wait._

And That of _Virgil_ himself:

_----Quo non præstantior alter Ære ciere viros, Martemque accendere cantu._

For those Lines may as well be applied to the Trumpet of _Virgil_, as of _Misenus_. Not but that in this way of Writing, I mean the Martial, and the Furious, _Homer_, setting aside his Redundancy, is at least equal to _Virgil_; perhaps superiour. But then he is not comparable to him in the other Part, the smooth, the soft, and the sweetly flowing. This in _Virgil_ always puts me in mind of some Verses of his own, which I have elsewhere cited: Verses, which, in the Sixth Eclogue, the Speakers apply to each other; and which, above all Writers, are most applicable to Him, who gives Speech to them both.

_Tale tuum carmen nobis, divine Poeta, Quale sopor fessis in gramine, quale per æstum Dulcis aquæ saliente sitim restinguere rivo. Nam neque me tantum venientis sibilus Austri, Nec percussa juvant fluctu tam littora, nec quæ Saxosas inter decurrunt flumina valles._

But the exquisite Art of _Virgil_'s Versification is seen in his varying the Pauses, and Periods, and Cadence of his Numbers; in being rough or smooth, soft or vehement, long or short, _&c._ according to the Nature of the Ideas he would convey to the Mind: in which, I think, he exceeds all Writers, whether Ancient or Modern; and is in particular the best Versifier, as well as, upon the whole, the best Poet in the World.

Upon the Subject of _Speeches_, Mr. _Pope_ tells us, "That in _Virgil_ they often consist of general Reflections, or Thoughts, which might be equally just in any Person's Mouth upon the same Occasion. As many of his Persons have no apparent Characters; so many of his Speeches escape being applied, and judged by the Rule of Propriety. We oftner think of the Author himself, when we read _Virgil_, than when we are engaged in _Homer_. All which are the Effects of _a colder Invention_, that interests us less in the Action described: _Homer_ makes us Hearers, and _Virgil_ leaves us Readers." I have the Misfortune to be of a quite different Sentiment. If _Virgil_ outshines _Homer_ in any thing, it is especially in his _Speeches_. Which are all, so far as it is necessary, adapted to the Manners of the Speakers, and diversified by their several Characters. Nor do I know of any one Beauty by which _Virgil_ is more peculiarly distinguished, than That of his Speeches: Considering the Sweetness and Softness of some, the Cunning and Artifice of others; the Majesty and Gravity of a third sort; the Fire and Fury of a fourth: In which two last Kinds especially we have the united Eloquence of Oratory, and Poetry; and read _Tully_ involved in _Virgil_. That the Characters of the Heroes are more particularly marked and distinguished in the _Greek_, than in the _Latin_, I readily acknowledge. In That the _Iliad_ excels the _Æneis_; and, I think, in nothing else. And the Controversy between these two great Poets Should, in my Opinion, be thus determined: "That _Virgil_ is very much obliged to _Homer_; and _Homer_'s Poems, upon the whole, very much exceeded by _Virgil_'s."

But I am sensible, that by arguing for _Virgil_ I have all this while been arguing against my self. For the more excellent the Author, the more presumptuous the Translator. I have however thus much to plead in my Excuse, That this Work was very far _advanced_, before it was _undertaken_; having been for many Years the Diversion of my leisure Hours at the University, and growing upon me by insensible Degrees; so that a great _Part_ of the _Æneis_ was _actually translated_, before I had _any Design_ of _attempting the Whole_. But with regard to the _Publick Office in Poetry_, with which the University of _Oxford_ was afterwards pleased to honour me, (an Honour which I Now enjoy, and which I shall Forever gratefully acknowledge) I thought it might not be improper for me to review, and finish this Work; which otherwise had certainly been as much neglected by Me, as perhaps it will now be by Every body else.

It is to That renowned Seat of Learning and Virtue, (the Pride and Glory of our Island!)

_----cujus amor mihi crescit in horas,_

and my Love and Veneration for which I Shall never be able to express: It is to That famous University, I say, that I owe a very considerable Part of my Encouragement in this Undertaking; tho' at the same time I have great and signal Obligations to many _Others_, who were not only Subscribers to it themselves, but Promoters of it by their Interest in their Friends. With the most grateful Sense of the Favour, and Honour done me, I return my _general_ Thanks to _All_ Those of the Nobility, and Gentry, and all Others, who appear as my Subscribers: But These my _especial Benefactors_ are desired to accept of my more _particular_ Acknowledgments. Even These (many of whom are Persons of Quality) are so numerous, that to mention them would be to transcribe a great Part of my List into my Preface: And Since I cannot properly name them _All_, I think it the best Manners to name _None_. I wish for Their sakes, as well as my Own, that, when they have read this Translation, they may not repent of the _generous Encouragement_ they have given it.

One Thing of which, I hope, I may say; and That is, that _it is a Translation_. And if it be; I believe I may add, that it is almost the only one in Verse, and of a considerable Length. And this I am very far from speaking, upon the Account of any great Opinion which I have conceived of my own Performance. For besides that a Translation may be very _close_, and yet very _bad_. Others could have done the same thing much better, if they would: But they thought it either impracticable, or improper. They have been so averse from the Folly of rendering Word for Word, that they have ran into the other Extreme; and their Translations are commonly so very licentious, that they can scarce be called so much as Paraphrases. Whereas, were it practicable to translate _verbatim_ in the strictest Sense; and yet preserve the Elegance, and Sublimity, and Spirit of the Author, as much as if one allowed one's self a greater Latitude: That Method ought to be chosen before the other. And in proportion, the nearer one approaches to the Original, the better it is; provided the Version be in other Respects no way prejudiced, but rather improved by it: A Thing, in my Apprehension, by no Means inconceivable. A Translator should _draw the Picture_ of his Author: And in Painting, we know, _Likeness_ is the _first_ Beauty; so that if it has not _That_, all the rest are insignificant. Draw _Virgil_ as _like_ as you can; To think of _improving_ him is _arrogant_; and to flatter him, is _impossible_. I have not added, or omitted very many Words: Many indeed are varied; the Sense of the Substantive in the Latin, being often transferred to the Adjective in the English; and so on the Reverse: with a great Number of such like Instances, which it is needless to mention. Yet many Lines are translated Word for Word: But, upon the Whole, to give a tolerable, and yet a perfectly litteral Version, I take to be in the Nature of Things absolutely impossible.

I am sensible too, as I said before, that it may be a true Translation, a close Translation; and yet, after all, a very bad Translation. Whether This be so, or not, is with all imaginable Deference submitted to the Judgment of the World. To render the bare Sense, and Words of a Poet, is only to paint his Features, and Lineaments; but to render his _Poetry_, that is, the _peculiar Turn_ of his Thoughts, and Diction, is to paint his _Air_ and _Manner_. And as the Air of a Face arises from a Man's _Soul_, as well as from his Body; it is just the same here: Or rather, This peculiar Turn of the Poet's Sentiments and Expressions _is it self_ the Soul of his Poetry: If we are asked what That is; the Answer must be, if we may properly compare a _Mode_ to a _Substance_, that the Soul of Poetry, like the Soul of Man, is perceivable only by its Effects; like That, immaterial, and invisible; and like That too, immortal.

But then all this being taken care of, certainly the nearer to the Original, the better: Nay indeed it is impossible to hit the Air right; unless you hit the Features, from which the Air, so far as it relates to the Body, rises, and results. Should my Translation be approved of for the Spirit of Poetry; I should not be sorry, nay I should be glad, if at the same time it served for a Construing-Book to a School-Boy. But still whenever it happens (as it very often does, and must) that a close Version, and a graceful Expression are inconsistent; the latter is always to be preferred. A _less litteral Translation_ is very frequently beautiful; but nothing can justify _an ill Verse_. In This Case, one departs from the Original by adhering to it; and such an Author as _Virgil_ might justly say of his bad Translator, what _Martial_ says of his bad Neighbour;

_Nemo tam prope, tam proculque nobis._

For the Version would retain more not only of the _Beauty_, but of the _real Sense_ of the Original; and so _upon the whole_, be more _like_ it: If it were a less faithful Interpretation of Words and Expressions.

Here therefore we can no longer pursue the Comparison between Painting and Translating: When true Beauty is to be imitated, the Features cannot be too exactly traced in the One, to make a handsom Likeness; but Words may be too exactly rendered in the Other. Upon this Head I cannot avoid transcribing a Passage from the ingenious, and (in all Instances, but one) judicious Dr. _Felton_'s Dissertation upon _Reading the Classicks addressed to the Lord Marquis of_ Granby. "When therefore ([18]says He) you meet with any Expressions which will not be rendered without this Disadvantage, the Thing to be regarded is the Beauty and Elegance of the Original; and your Lordship, without minding any thing but the Sense of the Author, is to consider how that Passage would be best expressed in _English_, if you were not tied up to the Words of the Original: And you may depend upon it, that if you can find a Way of expressing the same Sense as beautifully in _English_; you have hit the true Translation, tho' you cannot construe the Words backwards, and forwards into one another: For then you certainly have translated, as the Author, were he an _Englishman_, would have wrote." And since I have cited thus much from That Treatise; I will borrow a little more from it upon the Nature, and Difficulty of Translations in general: Because it entirely expresses my Sentiments, in far better Words than I am able to make use of. "[19]'Tis no exceeding Labour for every great Genius to exert, and manage, and master his own Spirit: But 'tis almost an insuperable Task to compass, to equal, to command the Spirit of another Man. Yet this is what every Translator taketh upon himself to do; and must do, if he deserves the Name. He must put himself into the Place of his Authors, not only be Master of their Manner as to their Style, their Periods, Turn, and Cadence of their Writings; but he must bring himself to their Habit, and Way of Thinking, and have, if possible, the same Train of Notions in his Head, which gave Birth to Those they have selected, and placed in their Works." For the Rest, I refer my Reader to the Dissertation it self; of which I would say that it is a most curious and delicate Piece of Wit, and Criticism, and polite Learning; did I not fear that (for a Reason which I will not mention) it would look like Vanity in Me to do common Justice to it's Author. At the same time I must acknowledge that the Doctor represents a Translation of _Virgil_ after Mr. _Dryden_'s as a desperate Undertaking: Which would be no small Mortification to me; were not mine of a different Nature from His: Of which more in it's proper Place.

Endeavouring to resemble _Virgil_ as much as possible, I have imitated him in his _Breaks_. For tho' I am satisfied he never intended to leave those Verses unfinished, and therefore he is in that Particular absurdly mimicked by some Moderns in their Original Writings; yet _unfinished they are_: And this Imitation is not (with Mr. _Dryden_'s Leave) "like the Affectation of _Alexander_'s Courtiers, who held their Necks awry, because He could not help it." For besides that a _wry Neck_ is one thing, and a _Scar_ is another; _Apelles_ in a _Picture_ ought to have imitated his Master's Imperfection, if he intended to draw an exact Likeness, tho' his _Courtiers_ were ridiculous Flatterers for doing the Same in their _Gestures_.

A Work of This Nature is to be regarded in Two different Views; both as a _Poem_, and as a _Translated Poem_. In the one, all Persons of good Sense, and a true Taste of Poetry, are Judges of it; tho' they are skilled in no Language, but their Own. In the other, Those only are so; who besides the Qualification just mentioned, are familiarly acquainted with the Original. And it may well admit of a Question, to which of these Species of Readers a good Translation is the more agreeable Entertainment. The Unlearned are affected like Those, who see the Picture of One whose Character they admire; but whose Person they never saw: The Learned, like Those who see the Picture of one whom they love, and admire; and with whom they are intimately acquainted. The Reason of the first Pleasure is clear; but That of the last requires a little more Consideration. It may all, be resolved into the Love of Imitation, Comparison, and Variety; which arises from the Imperfection of human Happiness; for a Reason which I have elsewhere[20] assigned. Delightful therefore it is to compare the Version with the Original: Through the whole Course of which Comparison, we discover many retired Beauties in the Author himself, which we never before observed. Delightful it must be to have the same Ideas started in our Minds, different ways; and the more agreeable those Ideas are in themselves, the more agreeable is this Variety. Therefore, the better we understand a Poet, the more we love and admire him; the more Pleasure we conceive in reading him well translated: As we most delight to see the Pictures of Those whom we best love; and to see the Persons themselves in Variety of Dresses. Upon which Account, I will be bold to affirm; that he who says he values no Translation of this, or that Poem, because he understands the Original, has indeed no true Relish, that is, in effect, no _true Understanding_ of _Either_.

It is indeed no less certain on the Reverse, that a Man is as much provoked to see an ill Picture of his Friend, or Mistress, as he is pleased to see a good one; and it is just the same in Translations. But it is evident that the _bare Understanding_ of a Poet (as that Word is commonly used) is not the _only_ Argument of one's _truly_ understanding him: that is, understanding him as a _Poet_. Because what I have just now said, concerning the Agreeableness of a good Translation, holds as true, when it is from our own Language to another, as when it is from another to our own. It may be presumed that _Milton_'s _Paradise Lost_, being in _English_, is well _understood_ (vulgarly speaking) by _Englishmen_. But notwithstanding That, were it possible (as I think it is not) to have all That amazing Poem as well translated into _Latin_, or _Greek_, as some Parts of it certainly may be; with what Pleasure should we read it! And he who would not read such a Translation with Pleasure, will, I believe, be allowed by all who have a right Taste of Poetry not _truly_ to understand the Original. Besides what I have said concerning the Delight arising from Imitation, Comparison, and Variety, which respects the Relation between the Version, and the Original; the Translator's Work, even to Those who understand the Original, is in a great measure a _New Poem_: The Thought, and Contrivance are his Author's; but his Language, and the Turn of his Versification, and Expressions, are his own. What I have offered upon this Subject relates to Translations in general: Of my own in particular I have nothing to say, but what I have said before; which is to submit it to the Judgment of Others.

In Pursuance of my Design of endeavouring to be as like _Virgil_ as possible; I have chosen Blank Verse, rather than Rhime. For besides that the Fetters of Rhime often cramp the Expression, and spoil the Verse, and so you can both translate more closely, and also more fully express the Spirit of your Author, without it, than with it; I say besides This, supposing other Circumstances were equal, Blank Verse is _in it self better_. It is not only more Majestick, and Sublime, but more Musical, and Harmonious: It has more _Rhime_ in it, according to the ancient, and true Sense of the Word, than Rhime it self, as it is now used. For in it's original Signification, it consists not in the Tinkling of Vowels, and Consonants; but in the metrical Disposition of Words, and Syllables, and the proper Cadence of Numbers; which is more agreeable to the Ear, without the Jingling of like Endings, than with it. The Reader may say, To whose Ear is it so? To Yours perhaps; but not to Mine. And I grant all This to be matter of Fact, rather than of Reason; and to be determined by Votes, rather than Arguments. And accordingly a great Majority of the best Genius's, and Judges in Poetry now living, with many of whom I have frequently conversed upon this Subject, have determined in favour of this way of Writing. And among Those who are dead, the same was the Opinion not only of my Lord _Roscommon_ (to omit others,) but of [21]Mr. _Dryden_ Himself; who was the best Rhimer, as well as the best Poet, of the Age in which he lived. And indeed let but a Man consult his own Ears.