The Æneid of Virgil, Translated into English Verse - Virgil

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Morris' attempt to devise a new metre anything but disappointing. It is surprising that so delightfully endowed a poet should have so often missed the music of Virgil's verse as he has done in his translation, and the archaisms with which his work abounds, though they might be suitable in a translation of Homer, are only a source of irritation in the case of Virgil.

      For the best metre to use we must look in a different direction. Virgil made use of the dactylic hexameter because it was the literary tradition of his day that epics should be written in that metre. In the same way it might be argued, the English tradition points to blank verse as the correct medium. This may be so, but its use demands that the translator should be as great a poet as Virgil. Had Tennyson ever translated the Aeneid, it would doubtless have been as nearly faultless as any translation could be, as is shown by the version of Sir Theodore Martin, which owes so much of its stately charm to its close adherence to the manner of Tennyson. A typical passage is the description of Dido's love for Aeneas—

      'Soothsayers, ah! how little do they know!

       Of what avail are temples, vows, and prayers,

       To quell a raging passion? All the while

       A subtle flame is smouldering in her veins,

       And in her heart a silent aching wound.

       * * * * *

       Now Dido leads

       Aeneas round the ramparts, to him shows

       The wealth of Sidon, all the town laid out,

       Begins to speak, then stops, she knows not why.

       Now, as day wanes, the feast of yesterday

       She gives again, again with fevered lips

       Begs for the tale of Troy and all its woes,

       And hangs upon his lips, who tells the tale.

       Then, when the guests are gone and in her turn

       The wan moon pales her light, and waning stars

       Persuade to sleep, she in her empty halls

       Mourns all alone, and throws herself along

       The couch where he had lain: though he be gone

       Far from her side, she hears and sees him still.'

      Of the merits of the present translation the reader will judge for himself; but it may perhaps be said of the usual objections urged against the Spenserian stanza—that it is cumbrous and monotonous, and presents difficulties of construction—that the two former criticisms will be just or the reverse, according to the skill of the writer, while it is quite possible that the last is really an advantage, for the intricate machinery imposes a restraint on careless or hasty composition. And finally we must turn a deaf ear, even to so high an authority as Matthew Arnold, when he says that it is not suited to the grand manner. When he said this he cannot have remembered either the lament of Florimell in the Faerie Queene or the conclusion of Childe Harold.

      J. P. MAINE.

      Edward Fairfax Taylor, whose translation of the Aeneid is now published, was descended from the Taylors of Norwich, a family well known for their culture and intellectual gifts. He was the only son of John Edward Taylor, himself an accomplished German and Italian scholar, and the first translator of the Pentamerone into English, who lived at Weybridge near his aunt, Mrs. Sarah Austin. Brought up among books, young Taylor early showed an intense love for classical literature, and soon after going to Marlborough he began the present translation as a boy of sixteen. His admiration for Spenser led him to adopt the Spenserian stanza, and in the preface to his translation of the first two books he gives detailed reasons for considering it peculiarly well adapted for the Aeneid. He was a favourite pupil of the late Dr. Bradley, Dean of Westminster, at that time headmaster of Marlborough, and who much wished that he should follow in the footsteps of 'that brilliant band of Marlborough men,' as they have been called, who at that time, year after year, gained the Balliol scholarship. But circumstances made him decide otherwise, and in 1865 he passed the necessary examination for a clerkship in the House of Lords. The long vacations gave him time to continue this labour of love, and in the intervals of much other literary work, and in spite of ill health, he completed the translation of the twelve books of the Aeneid. He looked forward to re-editing it and bringing it out when he should have retired from his work in the House of Lords, but this day never came, and he died from heart disease in January 1902. His was a singularly charming disposition, and he was beloved by all who knew him; while the courage and patience with which he bore ever-increasing suffering, and the stoicism he showed in fulfilling his duties in the House of Lords, have left a deep impression on all his friends.

      L. M.

      The Edisso Princeps, of Virgil is that printed at Rome by Sweynham and Pannartz. It was not dated, but it is almost certain that it was printed before the Venice folio edition of V. de Spira, which was issued in 1470. The best modern critical editions of the text are those of Ribbeck (4 vols. 1895) and F. A. Hirtzel (Scriptorum Classicorum Bibliotheca Oxoniensis, 1900). Of the editions containing explanatory notes, that of Conington and Nettleship, revised by Haverfield, is the standard English commentary. That of A. Sidgwick (2 vols. Cambridge) is more elementary, but will be found valuable. Those of Kennedy (London, 1879) and of Papillon and Haigh (Oxford, 2 vols. 1890–91) may also be referred to.

      Virgil was first introduced to English readers by William Caxton in 1490. But his Eneydos was based, not on the Aeneid itself, but on a French paraphrase, the liure des eneydes, printed at Lyons in 1483.

      The best modern prose translations are those of Mackail (London, 1885) and Conington (London, 1870).

      The following is a list of the more important verse translations of the Aeneid which have appeared. The name of the translator, and the date at which his translation appeared, are given:—Gawin Douglas, 1553 (see Introduction); Henry, Earl of Surrey, 1557 (Books II. and IV. only); J. Dryden, 1697; C. R. Kennedy, 1861; J. Conington, 1866; W. Morris, 1876; W. J. Thornhill, 1886; Sir Charles Bowen, 1887 (Books I.-VI. only); J. Rhoades, 1893 (Books I.-VI. only); Sir Theodore Martin, 1896 (Books I.-VI. only); T. H. D. May, 1903; E. Fairfax Taylor, 1903.

      Students of Virgil would also do well to consult Sellar, Poets of the Augustan Age (Oxford, 1883), and Nettleship, Introduction to the Study of Vergil.

       Table of Contents

       Table of Contents

      ARGUMENT

      Fate sends Æneas to Latium to found Rome, but Juno's hostility long delays his success (1–45). Descrying him and his Trojans in sight of Italy, she bribes Æolus to raise a storm for their destruction (46–99). The tempest (100–116). The despair of Æneas (117–126). One Trojan ship is already lost, when Neptune learns the plot and lays the storm (127–189). Æneas escapes, lands in Libya, and heartens his men (190–261). Venus appeals to Jupiter, who comforts her with assurance that Æneas shall yet be great in Italy. His son shall found Alba and his son's sons Rome. Juno shall eventually relent,

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