Til E .EN KID OF VIRGIL TRANSLATED INTO ENGLISH BLANK I'ERSE CHRISTOPHER PEARSE CRANCH Prisca fides facto, sed fama perennis BOSTON HOUGHTON, OSGOOD AND COMPANY. 1879. Entered according to Act of Congress, in the year 1872, BY JAMES R. OSGOOD &. CO., in the Office of the Librarian of Congress, at Washington. v 3 & /0 University Press : Welch, Bigelow, & Co., I Wli.KIDGE, PREFACE. IN the translation of the great Roman epic here offered to the public, I have endeavored to fulfil two necessary requirements : first, to render the original Latin as literally and concisely into pure idiomatic English as could be consist- ent with a strict metrical form ; and, secondly, to make it, as ably as I could, a poem, retaining somewhat of the spirit of the original. I have made an earnest attempt to do what I believe has not yet been successfully done, — a faithful ren- dering of the iEneid into fluent, poetic, yet compact and carefully constructed blank verse. All the best poetical translations of it into English, hith- erto, have been done chiefly in rhymed couplets ; and all, whatever their other merits, have failed more or less in fidelity, for the simple reason that they are rhymed. One need only compare the best known version, Dryden's, with the Latin, to see the lamentable transformations the old Roman bard has suffered (even when piloted by a poet) at the hands of that seductive siren, Rhyme. Or, to come down to our own day, take the newest rhymed version, Professor Conington's, and, in spite of his infinitely greater iv Preface. fidelity to the exact language of Virgil, there will still be found the inevitable failures marking the same despotism. The conscientious translator is called upon for surrenders and sacrifices that cannot be afforded. Is it not too much to expect, that any one mortal should have skill to mould the delicate and compact sentences of the Latin poet into a form so unbending in its verbal exactions ? And these exac- tions are not only attended by perpetual lapses into incorrect or weak paraphrase ; the incessantly recurrent rhyme gives an almost unavoidable appearance of antithesis, which dis- turbs the clear simplicity and directness of the original. Thus the very fashions which the school of Pope and Dry- den thought fitting and beautiful and noble, and in which it loved to drape the old classic bards till it almost hid their forms from us, are seen to be quite inappropriate when tested by our modern demands and our juster principles of translation. The translator has only to try his hand at it, to see to what shifts he is reduced when fettered by these jingling chains; to find out to what frequent slurrings of delicate graces and meanings, to what grave omissions, addi- tions, dilutions, and circumlocutions he is pledged. If it be true that Rhymes the rudders are of verses, By which, like ships, they steer their courses, it is also true that they are rocks and shoals on which poet- ical translations, in spite of the adroitest steering, too often split. In a word, Translation becomes Transformation. Preface. v I am aware that there are classical scholars of poetic tastes, who, while dissatisfied with rhymed versions, yet would fain see some metrical forms attempted which they think, would approach nearer to the rhythmical movement of the origi- nals than do any of the established metres. For the Latin hexameter, it is suggested, why not adopt the Knglish hex- ameter? Without wishing to enter upon this much-debated hexameter question, I would merely say that I think there are serious objections to the use of this metre for a transla- tion of the ./Eneid, or, indeed, for any long epic poem. It is easy to write flowing hexameters of a certain sort. But, to say nothing of the greater advantage the Latin has in its winged and airy vowel-syllables, the trouble is to find in English pure spondaic words enough, without which the lines must be overloaded with dactyls; the result being an effect, in a poem of any length, as fatiguing and monoto- nous as an incessant swing or canter. This metre may be used with success, I think, in a brief eclogue, hardly in a lengthy epic. The impression conveyed by the movement of the verse in English must differ materially from that which the original metre conveyed to the ancients, — else it is difficult to imagine how it could ever have become with them the established form for the epic. To our ears, twelve long books of modern hexameters could hardly fail to be a portentous affair. For myself, I can seldom read more than a tew pages even of the best English specimens of this vi Preface. rhythm, without a lurking sense of something like verbal pos- ing and posturing going on, which, even when graceful, has a perpetual tendency to the constrained and artificial. I am quite aware of the fascination there is in the composition of these quaint and trailing six-footers. But in spite of the Germans, and the theories and experiments of a few poet- scholars, I cannot but think that the hexameter belongs exclusively to the costume of the antique ages, and that the less the epic muse has to do with it, the better. Metres, like spoken languages, become obsolete and dead. They may or may not be revived. But, at any rate, popular and accepted metres are growths, and not transplantations from a remote past. Besides, the difficulty of sustaining to the end, in hex- ameter, a poem so varied in thought and action as the .ZEneid, is a consideration which might well make the most gifted rhythmical artist shrink from the task ; a task tenfold greater, if it be a main object with him to keep close to the literal phrasing of the text. In choosing the form of blank verse in this translation, I feel as if I had better obeyed the inferential Scriptural suggestion of putting old wine into old skins, than if I had tried to pump it into any such antique jars. That the form I have chosen is comparatively modern is no objection. It is not a new, nor a transplanted form. Blank verse is a good old sound English growth, long ago adopted, and glo- Preface. vii riously illumined by the greatest poets in our language. If it is deficient in movement, it must be the fault of the writer, not of the verse. I cannot think of a form more fitting for an epic, nor one, on the whole, better adapted to I worthy rendering of the sense and spirit of the ./Eneid. I could not help feeling, too, while engaged in my task, that the Latin lines lend themselves to the very requirements of blank verse, in the fact that their conciseness so often obliges an overlapping of one translated line into the next, and thus favors the variation of the pause, which in this metre is so essential to the avoidance of monotony and the sus- taining of rhythmical effect. I have not troubled myself greatly about consulting the various English translations of the iEneid. I should like to have compared my work with Dr. Trapp's, the only blank-verse version, I believe, of any note; but have not been able to obtain it. Dryden's and Conington's rhymed versions are the only two with which I have much acquaint- ance. The Earl of Surrey's version of the second and fourth Books I have only glanced at. It is noticeable as the earliest blank-verse essay in our literature. While some- what too antiquated in style for the present day, it has, apparently, the merit of being literal. Thomas Phaer, in 1558, translated seven Books of the TEneid into rhymed couplets, of fourteen-syllable verse, if I remember. The remaining Books were done by Thomas Twine, and the viii Preface. whole was published in 1584. It is as obsolete in much of its phraseology as Surrey's ; but from a cursory examina- tion, it seems to be better than its fame. Pitt's version I am unacquainted with. It is spoken of as very tame, and not faithful. Symmons's, which, like Pitt's and Dryden's, is in heroic rhyme, I have known only in parts, and since I completed my own. It seems more faithful than Dry- den's ; but then Symmons was not a poet, and Dryden was, though an unequal one. Professor Conington's, in the Scott's-Marmion octosyllabic metre, is ingenious, frequently poetic, and, as far as the translator's shackles would allow, faithful. But it is like Virgil in short-hand. Debarred by the frequently recurring rhyme from a literal rendering, yet desirous of slurring nothing, he merely touches and suggests, where he should linger; and, missing the graceful sweep of Virgil's lines, reads too much like a sort of classical Sir Walter. I am far from pretending that my versification may not frequently fail to convey the movement of the Latin lines to the ear of those to whom they are familiar. What I have aimed at has been to render simply and concisely, with- out omission, addition, or periphrasis, and at the same time fluently, keeping in mind the best ideals of blank verse. The only departure made from this metre has been in two brief passages where it seemed to me the answers of the Or- acle in pentameter rhyme might make an agreeable contrast. Preface, ix The addition of many notes would have too much encum- bered the book, besides being unnecessary where the classical dictionary is accessible. I have therefore added only a few, which may be convenient for the general reader. I have followed mainly Professor Anthon's text, and must thank him for what benefit I have derived from his valuable notes and occasional renderings. I may be some- what indebted, too, to Davidson's prose translation, with which I have compared portions of my own. And I wish, in conclusion, to express my obligation to my friend, Pro- fessor James Russell Lowell, for many good criticisms and suggestions in revising my manuscript. C. P. C. September , 1872. CONTENTS. BOOK I. Page Introduction: Causes of Juno's Hatred of the Trojans, lines 1-43. — Her Soliloquy, and Interview with iEolus, 44. — Who sends a Tempest upon the Fleet of iEneas, 101. — Its Result, 129. — Neptune rebukes the Winds, and calms the Seas, 157. — The Trojans gain the shores of Lybia, and moor their Ships in a safe Harbor, 199. — JEneas kills seven Stags, one for each Ship, 233. — He consoles his Companions, 250. — They feast on the Shore, 270. — Colloquy in the Heavens between Jupiter and Venus, concerning iEneas and the future Destinies of his Race, 285. — Mercury sent down to dispose the Carthaginians favorably toward the Trojans, 387. — iEneas's Meeting with his Mother, Venus, 410. — She gives him an Outline of Dido's History, 445. — Foretells the Recovery of his lost Ships and Comrades, and directs him toward Carthage, 505. — He recognizes his Mother as she leaves him, 524. — His Entrance into the City, 544. — Description of the Pictures of the Trojan Battles on the Temple Walls, 589. — Entrance of Dido, 640. — And of his missing Friends, 661. — Speech of Ilioneus, and Dido's Reply, 676. — JEneas reveals himself to the Queen, 764. — His Speech, and her Reply, 775. — Her Hospitality, 821. — iEneas's Gifts to her, 837. — Venus's Plan to inflame her Heart with Love to ./Eneas, 855. — The Banquet in the Royal Palace, 912. — Dido requests iEneas to relate his Adventures, 986. ...... I BOOK II. iEneas begins his Narration: The Wooden Horse, lines 1-79. — Sinon brought before the Trojans, 80. — -He begins his false Story, 105. — The fate of Laocoon and his two Sons, 282. — The Wooden Horse is carried into Troy, 323. — Hector appears in a Dream to iEneas, 371. — iEneas relates the Destruction of Troy, 412. — He and his xii Contents. Companions attempt to defend the City, 464. — Their Adventures, 508. — The Fate of Priam's Palace, 598. — Assaulted by Pyrrhus, 641. — Who murders Polites and Priam, 716. — ./Eneas sees Helen, and deliberates whether he shall slay her, 770. — Is restrained by the Appearance and Counsel of Venus, 800. — Troy in Flames, 842. — He reaches his Father's House : Anchises refuses to escape from Troy, 856. — But changes his Resolution upon witnessing two marvellous Omens, 920. — The Escape, 953. — Creusa's Fate, 992. — ./Eneas searches for her through the City, 101 1. — Her Shade appears to him, 1039. — He finds a crowd of Trojans prepared to accompany him, 1072. — He bears away his Father, 1084. ..... 44 BOOK III. ./Eneas continues his Narrative, lines 1-6. — Builds a Fleet, and sails for Thrace, 7. — The Tomb of Polydore, 26. — Sails for Ortygia, 87. — Consults the Oracle of Apollo, 106. — The Answer, 121. — The Tro- jans determine to sail for Crete, 133. — 111 Fortune of the Trojans in this Island, 181. — He is directed by his Household Gods to sail for Italy, 195. — His Stormy Voyage, 251. — Lands on an Island of the Strophades, 270. — His Adventures with the Harpies, 283. — He puts to Sea again, 341. — And lands at Actium, 355. — Thence to Chaonia, where he meets with Andromache and Helenus, 376. — ./Eneas asks and obtains the Prophetic Knowledge of Helenus, and his Counsel concerning his Voyage, 459. — Helenus's Description of Scylla and Charybdis, 533. — His Advice concerning the Cumrean Sibyl, 561. — The Parting, 612. — The Trojans sail direct for Italy, 643. — Which they descry in the early Morning, 663. — They land and sacrifice to j Juno, 690. — Scylla and Charybdis, 706. — Description of Mount ./Etna, 721. — Achemenides, 742. — His Story of himself and of the Cyclops, 769. — Appearance of the Cyclops, 821. — The Trojans escape, and continue their Voyage, 833. — They sail around Sicily, and land at Drepanum, 859. — Death of Anchises, 885. — Conclusion of ./Eneas's Narrative, 895. . . . . . . . '9* BOOK IV. Dido loves iEneas, and confesses her Passion to her Sister, lines I — 38. — Who encourages it, 39. — They sacrifice at the Altars, 73. — The Contents. xi li Queen'l Pusion described, 86. — Juno's Interview with Venus, and Plan concerning JEneti aiul Dido, 1 19, Description of Dido and of vKiK-.i-., going forth to hunt, 170. — A Sturm sent by Juno, 209. — iEncas and Dido take refuge in a Cave, where the God. : ions their Marriage, 215. — Description of Rumor, 226. — King Iari , 258. — Mercury sent to command /Eneas to leave Carthage, 313. — His Message to /Eneas, 347. — Its Effect upon him, 361. — He pre- pares to leave with his Fleet, 371.- Effect of the Rumor of his Departure upon Dido, 382. — Her Interview with ./Eneas, and 1' sionate Appeal to him, 394. — His Justification of his Course, 435. — Her bitter Replv, 4^4. — Preparation of the Trojans for Departure, 52 v — Its Effect upon Dido, 540. — Her vain Attempts to delay it, 578. — Her Grief and Desperation, 594. — Conceals her fatal Reso- lution from her Sister, 626. — The Funeral Pile, 669. — Description of Night, 693. — Dido's Agitation: her Soliloquy, 701. — Mercury again warns ./Eneas to leave, 736. — He prepares to obey, 755. — Dido's Passionate Soliloquy when seeing his Fleet departing, 771. — Her last Words and Death, 853. — Her Sister's Grief, 879. — Iris frees the struggling Soul, 709. . . . . . . .130 BOOK V. jEneas, sailing from Carthage, sees the Flames of Dido's Funeral Pile, lines 3-8. — He is forced by stormy weather to make for Sicily^g. — Wel- comed by King Acestes, 43. — ^Encas proclaims an Anniversary Festival, 57. — He sacrifices at Anchises's Tomb, 95. — The Anniversary, 130. — The Celebration commences with a Race between four Galleys, 141. — The Contest described, 173. — Prizes conferred, 293. — A Foot- race, and the Prizes awarded, 344. — A Combat with the Cestus, 431. — Described, 506. — A Contest in Archery, 576. — An Omen, 612. — Ascanius's youthful Cavalry, 638. — Iris, sent by Juno, instigates the Trojan Women to burn their Ships, 708. — ^Eneas's Prayer, 813. — *^r— Havoc made by Turnus within the Trojan Gates, 882. — The Trojans rally, 960. — Turnus com- pelled to leap into the River, 1003. — He escapes, 1010. . . . 347 xvi Contents. book x. Council of the Gods: Speeches of Jupiter, Venus, and Juno upon the War, lines 1-8. — The Decision of Jupiter, 141. — Continuation of the Battle, 167. — ./Eneas returns toward his Camp, 201. — Description of the Heroes and Ships attending ./Eneas, 229. — He meets his Ships in the Forms of Sea-nymphs, 300. — He lands his Forces, 383. — And engages in the Battle, 409. — Its Events, 412. — Bravery of Pallas, 472. — His Combat with Turnus, 576. — And Death, 643. — Deaths dealt by ./Eneas, 688. — Jove's Colloquy with Juno respecting the War, 795. — Juno's Expedient to save Turnus, 832. — How he is borne off, 857. — His Reflections on his forced Flight, 875. — Mezentius takes the Field: his Havoc, 901. — Battle even on both Sides, 988. — Mezentius's Meeting with ./Eneas, 997. — His Life saved by his Son Lausus, 1038. — Mezentius withdraws, 1045. — ./Eneas fights singly against his Foes, 1050. — He slays Lausus in Combat, 1066. — Mezentius and his Son, 1 1 00. — His Grief and Remorse, 11 06. — He takes the Field again, 1 1 20. — Rhcebus, his Horse, 1 1 26. — Fights with ./Eneas, 1153. — His Dying Words, 11 78 391 BOOK XI. ./Eneas erects a Trophy with the Armor of Mezentius, lines 7 - 29. — Prepares to bury his Dead, 30. — Pallas upon his Bier, 48. — ./Eneas's Lamentation, 55. — The Body of Pallas is borne to Pallanteum, 78. — ■ The Procession, 120. — Ambassadors come from King Latinus, suing for Peace, and Leave^to bury their Dead, 129. — Reply of ./Eneas, 139. — Drances, 160. — A Twelve Days' Truce agreed upon, 175. — Evan- der hears of his Son's Death, 183. — His Grief, 195. — The Trojans and Tuscans build their Funeral Piles, 246. — Also the Latins, 271. — » Return of the Ambassadors from Diomed's City, who report their Failure to procure Aid, 299. — Latinus summons his Council, 312. — What Diomed said to the Ambassadors, 336. — Speech of King Latinus, 402. — His Plan regarding the Trojans, 420. — Speech of Drances, 445. — Turnus's Reply, 500. — He counsels War, 543. — ./Eneas ap- proaches the City, 592. — Warlike Preparations of Turnus, 611. — He meets Camilla, 656. — Result of the Interview, 676. — Diana relates to Opis the Storv of Metabus and Camilla, 699. — And charges the Nymph to avenge her Death, 772. — Battle and Carnage, 798. C 0)1 foils. xvii — Camilla's warlike Feats, S44. — Tarclion, 938. — Aruns, 979. — Death of Camilla, 1019. — -Aruns slain by the Nymph Opis, 1067. — The Defeat of the Rutuli, 1105. — Arrival of ./Eneas, 1145. . . 443 BOOK XII. Turnus is bent upon a single Combat between himself and jEncas, lines 1-12. — His Address to Latinus, and the King's Reply, 13. — His Interview with the Queen Amata, 75. — He prepares for the Combat, 111. — - ./Eneas docs the Same, 141. — Juno's Interview with Juturna, i~;. — Latinus and .