THZ
ELEVENTH
BOOK OF THE .
Dryden - Virgil - Aeineid
?
" Thus, weepsng whde he spoke, he took hu way,
HTlle_e, nezo in death, lamented Pallas lay"
--Oage 361
? THE/_RVARD CLASSICS EDITED BJIr CHARLES W ELIOT LLD
VIRGIL'S _TENE ID TRANSL',TED BY JOHN DRYDEN
WITII INTRODUCTIONS AND NOTES
VOLUME 13
P F COLLIER & SON COMPANY NEW YORK
? By P F COL_IZR & SON MANUFACTURED I_ U S A
_INDI _. N"A UNIV _o,_ IT_r
LIB i'-__ Y INDIANAPOLIS
Designed. Printed. and Bound at ? ;be _. ollter lPre_, ,IP_et__orl_
? DEDICATION . . . . . . . . . . . . . . . . . .
pAGI8 5
75 XO3
I3l
I56
182
211
243
2_2
S97
3s6 360
394
CONTENTS
T-B FU_T BOOK OP THE _E_xs . . . . . . . . . . TEE SECOND BOOK OF Tm_ . _I_8 . . . . . . . . . THE THntD BOOK OF THE _NEIS . . . . . . . . . . T_8[E FOURTH BOOK OP THE _NEIS . . . . . . . . . T/KE FIFTH BOOK OF THE . _NEI8 . . . . . . . . .
SIXTH BOOK OF TEE . _NEIB . . . . . . . . . .
SEVENTH BOOK OP THE _NEIS . . . . . . . . .
EIGHTH BOOK oP THE _NEIS . . . . . . . . .
THB NINTH BOOK OP THE _HEIS . . . . . . . . . .
TH_ T_T_ Book o# THE ,tE_xs . . . . . . . . . THZ ELEVENTH BOOK OF THE . _NEm . . . . . . . . 'I_WELIW_H BOOK O_ THE _NEIB . . . . . . . .
H0--Vol. 18---i 1
? INTRODUCTORY NOTE
Pt,'m_s Vr_s M,_to, the frsend of Augustus and the great representative poet of the first age of the Roman Empire, was a man of humble origin. Born Oct. zS, B. C. 70, the son of a small farmer near Mantua in Northern Italy, he was educated at Cremona, Mdan, and Rome. Probably as a result of the turmo:l of the Csvil Wars, Virgil seems to have returned to h_ natwe district, where he was engaged for some ttme m writing h_s "Eclogues. " Though he was never a soldier, and though there is no evidence of h:_ having taken any par_ in politics, he suffered severely from the results of the wars. Hss fathers farm lay within the ter_tory which was confiscated by the Tr;umvsrs for the purpose of bestowing grants of land upon thew soldiers, and Virgil succeeded m having it restored only through the personal inter'uent:on of Octawanus, the future emperor. But a change of governors deprsved hm_ of protection, and he was forced to
desert kis heritage in peril o/deatk,escaping only by swimming the river Mmcw. The rest o/his life was spent farther south, in Rome, Naples, Ssc;ly, and elsewhere. As he gamed _eputat_on he became the possessor of a large fortune, bestowed upon hsm by the generosity of friends and patrons, the most d_tzngu_hed of whom, apart [rom Augustus, was M_cenas, the center of the literary aocsety of the day. The "Eclogues" had been finished :n B. C. 37, and m B. C. 30 he published hss great poem on farming, the "Georgics. " It is characteristic of h;s laborious method of composition that this work oflittle more than 2,0o0lmea occupzed hlm for seven years
The completion of the "Georgics" established Virgil's posstlon as the chief poet of h;s time; and at this momentous date, when, the Civil Wars over, the victorious Augustus was laying the foundations of imperial government, the poem which was to be the supreme expression ofthe national life was begun. At the end of eleven years Virgil had written the whole of the ",_neid;' and planned to devote three more to its final re'vision But this revision was never accomphshed, for returning from Athene w_th Augustus in B. C. zg, he was seined with illness and died on Sep- tember zz. He was buried at Naples, where his tomb guas long a placeof relsgious pilgrimage.
3
? 4 INTRODUCTORY NOTE
The modern appredahon of the "Ihad" and the #Odyssey" has
tended to carry with it a deprec,ation of the "A_neut,'" the spirit of which appeals less forcibly to the taste of our time. But it is foolish to lose sight o[ the splendor of a poet who, [or nearly two thousand years, has been one of the most powerful factors m European culture. "The concurrent testimony of the most refined minds of all timem," says one of the finest of h_s critics, "marks h,m out as one of the greatest masters of the language whwh touches the heart or moves the manher sens:b;hties, who has ever bred. A mature and mellow truth of sentiment, a conformsty to the deeper experiences of life sn every age, a fine humamty as well as a generous elevation of feehng, and some magical charm of music in hss words, have enabled them to _erve many m;nds m many ages as a symbol of some swelhng thought or overmastermg emotson, the force and meamng of which they could scarcely define to themselves "
The subtler elements of the exqmsste style of Vwgzl no tracm- lator can ever hope to reproduce, but Dryden was a master of Enghsh versification, and the content of V_rg_l's epw _s here rendered _n wgorous and nervous couplels. "Desptle man. ? , revoluhons of pubhc taste,'" says Professor Noyes, Dryden's latest editor, "Dryden's Virgil shll rema,n_ prachcally ztnthout a r,val as the standard translat*on of the greatest Roman poet; the only one that, like tzvo or three vers, ons of Homer. has become an English classic "
lJ_'o'den's "Dedication" is an excellent example of hzs prose style, and gives an interesting view o? lhe method and slandpotnt oI the greatest of English seventeenth century critics.
? TO THE
MOST HONORABLE
JOHN, LORD MARQUIS OF NORMANBY
EARL OF MULGRAVE, &C.
AND KNIGHT OF THE MOST NOBLE ORDER OF THE GARTER
HEROIC poem, truly such, is undoubtedly the great- est work which the soul of man is capable to per- form. The design of it is to form the mind to he-
roic virtue by example 'T is convey'd in verse, that it may delight, while it instructs: the action of it is always one, entire, and great. The least and most trivial episodes, or underactions, which are interwoven in it, are parts either necessary or convenient to carry on the main design ; either so necessary, that, without them, the poem must be imper- fect, or so convenient, that no others can be imagln'd more suitable to the place in which they are There is nothing to be left void in a firm building; even the cavities ought not to be fill'd with rubbish, (which is of a perishable kind, de- structive to the strength,) but with brick or stone, tho' of less pieces, yet of the same nature, and fitted to the cran- nies Even the least portions of them must be of the epic kind: all things must be grave, majestical,-and sublime; nothing of a foreign nature, like the trifling no_,els which Ariosto and others have inserted in their poems; by which the reader is misled into another sort of pleasure, opposite to that which is design'd in an epic poem. One raises the soul, and hardens it to virtue; the other softens it again, and unbends it into vice. One conduces to the poet's aim, the completing of his work, which he is driving on, laboring and hast'ning in every line; the other slackens his pace, 5
? 6 DRYDEN'S TRANSLATION OF VIRGIL
diverts him from his way, and locks him up, likl a knlghto errant, in an enchanted castle, when he should be pursuing his first adventure. Statius, as Bossu has well observ'd, was ambttlous of trying his strength with his master Virgil, as Virgil had before tried his with Homer. The Grecian gave the two Romans an example, in the games which were cele- brated at the funerals of Patroclus. V_rgil imltated the in- vention of Homer, but chang'd the sports. But both the Greek and Latin poet took their occasions from the sub- ject; tho' to confess the truth, they were both ornamental, or at best convenient parts of it, rather than of necessity arising from it. Statms, who, thro' his whole poem, is noted for want of conduct and judgment, instead of staying, as he might have done, for the death of Capaneus, Hippomedon,
Tydeus, or some other of his seven champions, (who are heroes all alike), or more properly for the tragical end of the-two brothers, whose exequies the next successor had lei- sure to perform when the siege was rais'd, and in the in- terval betwixt the poet's first action and his second, went out of his way, as it were on prepense malice, to commit a fault. For he took his opportumty to kill a royal infant by the means of a serpent (that author of all evil), to make way for those funeral honors which he intended for him. Now if th_s innocent had been of any relation to his Theba_? ; if he had either farther'd or hinder'd the taking of the town; the poet might have found some sorry excuse at least, for detaining the reader from the promis'd siege. On these tehns, this Capaneus of a poet ingag'd his two immortal predecessors; and his success was answerable to his en- terprise.
If this economy must be observ'd in the minutest parts of an epic poem, which, to a common reader, seem to be detach'd from the body, and almost independent of it; what soul, tho' sent into the world with great advantages of na- ture, cultivated with the liberal arts and sciences, conver- sant with histories of the dead, and enrich'd with observa- tions of the living, can be suifcient to inform the whole body of so great a work? I touch here but transiently, ,without any strict method, on some few of those many rules _f imitating nature which Aristotle drew from Homer's
? DEDICATION OF THE IENEIS 7
Iliads and Odysses, and which he fitted to the drama; fur- nishing himself also with observations from the practice of the theater when it flourish'd under 2Eschylus, Euripides, and Sophocles: for the original of the stage was from the epic poem. Narration, doubtless, preceded acting, and gave laws to it; what at first was told artfully,-was, in process of time, represented gracefully to the sight and hearing Those episodes of Homer which were proper for the stage, the poets amplified each into an action; out of his limbs they form'd their bodies; what he had contracted, they en- larg'd; out of one Hercules were made infinite of pigmies, yet all endued with human souls; for from him, their great creator, they have each of them the divine partlculara aure. They flow'd from him at first, and are at last resolv'd into him. Nor were they only animated by him, but their meas- ure and symmetry was owing to him. His one, entire, and great action was copied by them according to the propor- tions of the drama. If he finish'd his orb within the year, it suflic'd to teach them, that their action being less, and being also less diversified with incidents, their orb, of consequence, must be circumscrib'd in a less compass, which they reduc'd within the limits either of a natural or an artificial day; so that, as he taught them to amplify what he had shorten'd, by the same rule, applied the contrary way, he taught them to shorten what he had amplified. Tragedy is the miniature of human life; an epic poem is the draught at length.
THZ ELEVENTH BOOK OF THE . _NEm . . . . . . . . 'I_WELIW_H BOOK O_ THE _NEIB . . . . . . . .
H0--Vol. 18---i 1
? INTRODUCTORY NOTE
Pt,'m_s Vr_s M,_to, the frsend of Augustus and the great representative poet of the first age of the Roman Empire, was a man of humble origin. Born Oct. zS, B. C. 70, the son of a small farmer near Mantua in Northern Italy, he was educated at Cremona, Mdan, and Rome. Probably as a result of the turmo:l of the Csvil Wars, Virgil seems to have returned to h_ natwe district, where he was engaged for some ttme m writing h_s "Eclogues. " Though he was never a soldier, and though there is no evidence of h:_ having taken any par_ in politics, he suffered severely from the results of the wars. Hss fathers farm lay within the ter_tory which was confiscated by the Tr;umvsrs for the purpose of bestowing grants of land upon thew soldiers, and Virgil succeeded m having it restored only through the personal inter'uent:on of Octawanus, the future emperor. But a change of governors deprsved hm_ of protection, and he was forced to
desert kis heritage in peril o/deatk,escaping only by swimming the river Mmcw. The rest o/his life was spent farther south, in Rome, Naples, Ssc;ly, and elsewhere. As he gamed _eputat_on he became the possessor of a large fortune, bestowed upon hsm by the generosity of friends and patrons, the most d_tzngu_hed of whom, apart [rom Augustus, was M_cenas, the center of the literary aocsety of the day. The "Eclogues" had been finished :n B. C. 37, and m B. C. 30 he published hss great poem on farming, the "Georgics. " It is characteristic of h;s laborious method of composition that this work oflittle more than 2,0o0lmea occupzed hlm for seven years
The completion of the "Georgics" established Virgil's posstlon as the chief poet of h;s time; and at this momentous date, when, the Civil Wars over, the victorious Augustus was laying the foundations of imperial government, the poem which was to be the supreme expression ofthe national life was begun. At the end of eleven years Virgil had written the whole of the ",_neid;' and planned to devote three more to its final re'vision But this revision was never accomphshed, for returning from Athene w_th Augustus in B. C. zg, he was seined with illness and died on Sep- tember zz. He was buried at Naples, where his tomb guas long a placeof relsgious pilgrimage.
3
? 4 INTRODUCTORY NOTE
The modern appredahon of the "Ihad" and the #Odyssey" has
tended to carry with it a deprec,ation of the "A_neut,'" the spirit of which appeals less forcibly to the taste of our time. But it is foolish to lose sight o[ the splendor of a poet who, [or nearly two thousand years, has been one of the most powerful factors m European culture. "The concurrent testimony of the most refined minds of all timem," says one of the finest of h_s critics, "marks h,m out as one of the greatest masters of the language whwh touches the heart or moves the manher sens:b;hties, who has ever bred. A mature and mellow truth of sentiment, a conformsty to the deeper experiences of life sn every age, a fine humamty as well as a generous elevation of feehng, and some magical charm of music in hss words, have enabled them to _erve many m;nds m many ages as a symbol of some swelhng thought or overmastermg emotson, the force and meamng of which they could scarcely define to themselves "
The subtler elements of the exqmsste style of Vwgzl no tracm- lator can ever hope to reproduce, but Dryden was a master of Enghsh versification, and the content of V_rg_l's epw _s here rendered _n wgorous and nervous couplels. "Desptle man. ? , revoluhons of pubhc taste,'" says Professor Noyes, Dryden's latest editor, "Dryden's Virgil shll rema,n_ prachcally ztnthout a r,val as the standard translat*on of the greatest Roman poet; the only one that, like tzvo or three vers, ons of Homer. has become an English classic "
lJ_'o'den's "Dedication" is an excellent example of hzs prose style, and gives an interesting view o? lhe method and slandpotnt oI the greatest of English seventeenth century critics.
? TO THE
MOST HONORABLE
JOHN, LORD MARQUIS OF NORMANBY
EARL OF MULGRAVE, &C.
AND KNIGHT OF THE MOST NOBLE ORDER OF THE GARTER
HEROIC poem, truly such, is undoubtedly the great- est work which the soul of man is capable to per- form. The design of it is to form the mind to he-
roic virtue by example 'T is convey'd in verse, that it may delight, while it instructs: the action of it is always one, entire, and great. The least and most trivial episodes, or underactions, which are interwoven in it, are parts either necessary or convenient to carry on the main design ; either so necessary, that, without them, the poem must be imper- fect, or so convenient, that no others can be imagln'd more suitable to the place in which they are There is nothing to be left void in a firm building; even the cavities ought not to be fill'd with rubbish, (which is of a perishable kind, de- structive to the strength,) but with brick or stone, tho' of less pieces, yet of the same nature, and fitted to the cran- nies Even the least portions of them must be of the epic kind: all things must be grave, majestical,-and sublime; nothing of a foreign nature, like the trifling no_,els which Ariosto and others have inserted in their poems; by which the reader is misled into another sort of pleasure, opposite to that which is design'd in an epic poem. One raises the soul, and hardens it to virtue; the other softens it again, and unbends it into vice. One conduces to the poet's aim, the completing of his work, which he is driving on, laboring and hast'ning in every line; the other slackens his pace, 5
? 6 DRYDEN'S TRANSLATION OF VIRGIL
diverts him from his way, and locks him up, likl a knlghto errant, in an enchanted castle, when he should be pursuing his first adventure. Statius, as Bossu has well observ'd, was ambttlous of trying his strength with his master Virgil, as Virgil had before tried his with Homer. The Grecian gave the two Romans an example, in the games which were cele- brated at the funerals of Patroclus. V_rgil imltated the in- vention of Homer, but chang'd the sports. But both the Greek and Latin poet took their occasions from the sub- ject; tho' to confess the truth, they were both ornamental, or at best convenient parts of it, rather than of necessity arising from it. Statms, who, thro' his whole poem, is noted for want of conduct and judgment, instead of staying, as he might have done, for the death of Capaneus, Hippomedon,
Tydeus, or some other of his seven champions, (who are heroes all alike), or more properly for the tragical end of the-two brothers, whose exequies the next successor had lei- sure to perform when the siege was rais'd, and in the in- terval betwixt the poet's first action and his second, went out of his way, as it were on prepense malice, to commit a fault. For he took his opportumty to kill a royal infant by the means of a serpent (that author of all evil), to make way for those funeral honors which he intended for him. Now if th_s innocent had been of any relation to his Theba_? ; if he had either farther'd or hinder'd the taking of the town; the poet might have found some sorry excuse at least, for detaining the reader from the promis'd siege. On these tehns, this Capaneus of a poet ingag'd his two immortal predecessors; and his success was answerable to his en- terprise.
If this economy must be observ'd in the minutest parts of an epic poem, which, to a common reader, seem to be detach'd from the body, and almost independent of it; what soul, tho' sent into the world with great advantages of na- ture, cultivated with the liberal arts and sciences, conver- sant with histories of the dead, and enrich'd with observa- tions of the living, can be suifcient to inform the whole body of so great a work? I touch here but transiently, ,without any strict method, on some few of those many rules _f imitating nature which Aristotle drew from Homer's
? DEDICATION OF THE IENEIS 7
Iliads and Odysses, and which he fitted to the drama; fur- nishing himself also with observations from the practice of the theater when it flourish'd under 2Eschylus, Euripides, and Sophocles: for the original of the stage was from the epic poem. Narration, doubtless, preceded acting, and gave laws to it; what at first was told artfully,-was, in process of time, represented gracefully to the sight and hearing Those episodes of Homer which were proper for the stage, the poets amplified each into an action; out of his limbs they form'd their bodies; what he had contracted, they en- larg'd; out of one Hercules were made infinite of pigmies, yet all endued with human souls; for from him, their great creator, they have each of them the divine partlculara aure. They flow'd from him at first, and are at last resolv'd into him. Nor were they only animated by him, but their meas- ure and symmetry was owing to him. His one, entire, and great action was copied by them according to the propor- tions of the drama. If he finish'd his orb within the year, it suflic'd to teach them, that their action being less, and being also less diversified with incidents, their orb, of consequence, must be circumscrib'd in a less compass, which they reduc'd within the limits either of a natural or an artificial day; so that, as he taught them to amplify what he had shorten'd, by the same rule, applied the contrary way, he taught them to shorten what he had amplified. Tragedy is the miniature of human life; an epic poem is the draught at length. Here, my Lord, I must contract also; for, before I was aware, I was almost running into a long digression, to prove that there is no such absolute necessity that the time of a stage action should so strictly be confin'd to twenty-four hours as never to exceed them, for which Aristotle contends, and the Grecian stage has practic'd. Some longer space, on some occasions, I think, may be allow'd, especially for the English theater, which requires more variety of incidents than the French. Corneille himself, after long practice, was inclin'd to thi. l? that the time allotted by the ancients was too short to raise and finish a great action: and better a mechanic rule were stretch'd or broken, than a great beauty were omitted, To raise, and afterwards to calm the passions, to purge the souls from pride, by the examples of human miseries, which
? 8 DRYD_. N'S TRANSLATION OF VIRGIL
befall the greatest; in few words, to expel arrogance, and introduce compassion, are the great effects of tragedy; great, I must confess, if they were altogether as true as they are pompous. But are habits to be mtroduc'd at three hours' warning? Are radical diseases so suddenly remov'd? A mountebank may promise such a _:ure, but a skilful physi- cian will not undertake it. An epic poem is not in so much haste; it works leisurely; the changes which _t makes are slow; but the cure is likely to be more perfect. The effects of tragedy, as I sa_d, are too violent to be lasting If it be answer'd that, for this reason, tragedies are often to be seen, and the dose to be repeated, thls is tacitly to confess that there is more virtue in one heroic poem than in many trag- edies. A man is humbled one day, and his pride returns the next. Chymical medicines are observ'd to relieve oft'net than to cure; for 't is the nature of spirits to make swift impressions, but not deep. Galenical decoctions, to which I may properly compare an epic poem, have more of body in them; they work by their substance and their weight. It is
one reason of Artstofle's to prove that tragedy is the more noble, because it turns in a shorter compass; the whole action being circumscrib'd within the space of four-and-twenty hours. He might prove as well that a mushroom is to be preferr'd before a peach, because it shoots up in the compass of a night. A chariot may be driven round the pillar in less space than a large machine, because the bulk is not so great. Is the Moon a more noble planet than Saturn, be- cause she makes her revolution in less than thirty days, and he in little less than thirty years ? Both their orbs are in proportion to their several magnitudes; and consequently the quickness or slowness of their motion, and the time of their circumvolutions, is no argument of the greater or less perfection. And, besides, what virtue is there in a tragedy which is not contain'd in an epic poem, where pride is humbled, virtue rewarded, and vice punish'd; and those more amply treated than the narrowness of the drama can admit ? The shining quality of an epic hero, his magnanimity, his constancy, his patience, his piety, or whatever character- istical virtue his poet gives him, raises first our admiration. We are naturally prone to imitate what we admire; and fre-
? DEDICATION OF THE _NEIS 9 quent acts produce a habit. If the hero's chief quality be
vicious, as, for example, the choler and obstinate desire of vengeance in Achilles, yet the moral is instructive: and, be- sides, we are inform'd in the very proposition of the Ilmd_ thatthisangerwas pernicioust;hatit broughta thousand illosntheGreciancamp ThccourageofAchilleisspro- pos'dto imitationo,t hisprideand disobediencteohisgen- eral,norhisbrutalcruelttyohisdeadenemy,nor thesdHng hisbodytohisfather. We abhortheseactionswhilewe readthem;and what we abhorwe neverimitateThe poet onlyshewsthem,likerocksorquicksandst,obe shunn'd.
By thisexamplethecritichsaveconcludedthatitisnot
necessartyhemannersoftheheroshouldbe virtuous. They
arepoeticalgloyod,iftheyareof a piece:tho'w,here a char-
acterof perfecvtirtueissetbeforeus,'tismore lovelyf;or therethewholeheroistobe imitated. Thisisthe_neas
ofourauthor;thisisthatideaofperfectioinan epicpoem whichpaintersand statuariehsave onlyintheirminds,and whichno handsareabletoexpress. Thescarethebeauties of a god in a human body. When the pictureof Achilles isdrawn intragedyh,e istakenwiththosewarts,and moles, and hard featuresb,y thosewho represenhtim on thestage, orheisnomoreAchillesf;orhiscreatorH,omer,hasso describ'hdim. Yet eventhushe appearsa perfechtero,tho' an imperfectcharacteorf virtue. Horace paintshim after Homcr,anddeliverhsimtobecopiedonthestagewithall thoseimperfectionsT. hereforetheyareeithernotfaultisn a heroicpoem,or faultcsommon tothedrama. Afterall, on the whole meritsof the cause,itmust be acknowledg'd thattheepicpoem ismore forthemanners,and tragedy forthepassions. The passionsa,s I have said,areviolent; and acutedistempersreqtdrcmedicinesof a strongand speedy operation. Ill habits of the mind are like chronical diseases, to be corrected by degrees, and cur'd by alteratives; wherein, tho' purges are sometimes necessary, yet diet, good air, and moderate exercise have the greatest part. The matter being thus stated, it will appear that both sorts of poetry are of use for their proper ends. The stage is more active; the epic poem works at greater leisure, yet is active too, when need requires; for dialogue is imitated by the
? 10 DRYDEN'S TRANSLATION OF VIRGIL
drama from the more active parts of it. One puts off a fit, like the quinqui_a, and relieves us only for a time; the other roots out the distemper, and gives a healthful habit. The sun enlightens and cheers us, dispels fogs, and warms the ground with his daily beams, but the corn is sow'd, increases, is ripen'd, and is reap'd for use in process of time, and in its proper season. I proceed from the greatness of the action to the digmty of the actors; I mean to the persons employ'd in both poems. There likewise tragedy will be seen to bor- row from the epopee; and that which borrows is always of less dignity, because it has not of its own. A subject, 't is true, may lend to his sovereign, but the act of borrowing makes the king inferior, because he wants, and the subject supplies. And suppose the persons of the drama wholly fabulous, or of the poet's invention, yet heroic poetry gave him-the examples of that invention, because it was first, and Homer the common father of the stage. I know not of any one advantage which tragedy can boast above heroic poetry, but that it is represented to the view, as well as read, and instructs in the closet, as well as on the theater. This is an uncontended excellence, and a chief branch of its prerogative; yet I may be allow'd to say, without partiality, that herein the actors share the poet's praise. Your Lord- ship knows some modern tragedies which are beautiful on the stage, and yet I am confident you would not read them. Tryphon the stationer complains they are seldom ask'd for in his shop. The poet who flourish'd in the scene is damn'd in the ruelle; nay more, he is not esteem'd a good poet by those who see and hear his extravagances with delight. They are a sort of stately fustian, and lofty childishness. Nothing but nature can give a sincere pleasure; where that is not imitated, 't is grotesque painting; the fine woman ends in a fish's tail.
I might also add that many things which not only please, but are real beauties in the reading, would appear absurd upon the stage; and those not only the speciosa rairacula, as Horace calls them, of transformations, of Scylla, Antiphates, _d the L,zstrygons, which cannot be represented even in operas; but the prowess of Achilles or 2Eneas would appear
ridiculous in our dwarf heroes of the theater. ,We can be- L
? DEDICATION OF THE _NEIS 11 lieve they routed armies, in Homer or in Virgil ; but ne Her-
cules contra duos in the drama. I forbear to instance in many things which the stage cannot, or ought not to repre- sent; for I have said already more than I intended on this
subject, and should fear It might be turn'd against me, that I plead for the preeminence of epic poetry because I have taken some pains in translating Virgil, if this were the first time that I had deliver'd my opinion in this dispute. But I have more than once already maint_in'd the rights of my two masters against their rivals of the scene, even while I wrote tragedies myself, and had no thoughts of this present undertaking. I submit my opinion to your judgment, who are better quahfied than any man I know to decide this con- troversy. You come, my Lord, instructed in the cause, and needed not that I should open it. Your Essay of Poetry, which was pubhsh'd without a name, and of which I was not honor'd with the confidence, I read over and over witk much delight, and as much mstructmn, and, without flatter- ing you, or making myself more moral than I am, not with- out some envy. I was loth to be in_orm'd how an epic poem should be written, or how a tragedy should be contriv'd and manag'd, in better verse, and with more judgment, than I could teach others. A native of Parnassus, and bred up in the studies of its fundamental laws, may receive new lights from his contemporaries; but 't is a grudging kind of praise which he gives his benefactors. He is more oblig'd than he is willing to acknowledge; there is a tincture of malice in his commendations; for where I own I am taught, I confess my want of knowledge. A judge upon the bench may, out of good nature, or at least interest, encourage the pleadings of a puny counselor; but he does not willingly commend his brother sergeant at the bar, especially when he controls his law, and exposes that ignorance which is made sacred by his place. I gave the unknown author his due commenda- tion, I must confess; but who can answer for me and for the rest of the poets who heard me read the poem, whether we should not have been better pleas'd to have seen our own names at the bottom of the title-page? Perhaps we com- mended it the more, that we might seem to be above the
censure. We are naturally displeas'd with an unknown I
? 12 DRYDEN'S TRANSLATION OF VIRGIL
critic, as the ladies are with the lampooner, because we are bitten in the dark, and know not where to fasten our re- venge. But great excellencies will work their way thro' all sorts of opposltton I applauded rather out of decency than affection, and was ambitious, as some yet can witness, to be acquainted with a man with whom I had the honor to con- verse, and that almost daily, for so many years together. Heaven knows if I have heartily forgiven you this deceit. You extorted a praise which I should willingly have given, had I known you. Nothing had been more easy than to com- mend a patron of a long standmg. The world would join with me, if the encomtums were just; and, if unjust, would excuse a grateful flatterer. But to come anonymous upon me, and force me to commend you against my interest, was not altogether so fatr, give me leave to say, as it was pohtic;
for b2( concealing your quahty, you might clearly understand how your work succeeded, and that the general approbation was given to your merit, not your titles. Thus, hke Apelles, you stood unseen behind your own Venus, and receiv'd the praises of the passing multitude; the work was commended, not the author; and I doubt not this was one of the most pleasing adventures of your life.
I have detain'd your Lordship longer than I intended in this dispute of preference betwixt the epic poem and the drama, and yet have not formally answer'd any of the argu- ments which are brought by Artstotle on the other side, and set in the fairest light by Dacier. But I suppose, without lookmg on the book, I may have touch'd on some of the ob- jections; for, in this address to your Lordship, I design not a treatise of heroic poetry, but write in a loose epistolary way, somewhat tending to that subject, after the example of Horace, in his First Epistle of the Second Book, to Augustus C,_. sar, and of that to the Pisos, which we call his Art of Poetry; in both of which he observes no method that I can trace, whatever Scaliger the Father or Heinsius may have seen or rather think they had seen. I have taken up, laid down, and resum'd as often as I pleas'd, the same subject; and this loose proceeding I shall use thro' all this prefatory dedication. Yet all this while I have been sailing with some side wind or other toward the point I propos'd in
? DEDICATION OF THE _N_IS 13
the beginning, the greatness and excellency of an heroic poem, with some of the difficulties which attend that work. The comparison, therefore, which I made betwixt the epopee and the tragedy was not altogether a digression; for 't is con- cluded on all hands that they are both the masterpieces of
human wit.
In the mean time, I may be bold to draw this corollary
from what has been already said, that the file of heroic poets is very short; all are not such who have assum'd that lofty title in ancient or modern ages, or have been so esteem'd by their partial and ignorant admirers.
There have been but one great Ilias, and one ,_Eneis, in so many ages. The next, but the next with a long interval be-
twixt, was the Jeruadem: I mean not so much in dtstance of time, as in excellency. After these three are enter'd, some Lord Chamberlain should be appointed, some critic of authority should be set before the door, to keep out a crowd of little poets, who press for admission, and are not of quality. Mmvius would be deaf'ning your Lordship's ears wtth his
Fortunam Prtami cantabo, et noblle bellum--
mere fustian, as Horace would tell you from behind, without pressing forward, and more smoke than fire. Pulci, Boiardo, and Ariosto would cry out: "Make room for the Italian poets, the descendants of Virgal in a right line" Father Le Moine, with his Saint Louis; and Scuddry with his Alaric: "for a godly l_ng and a Gothic conqueror;" and Chapeaain would take it ill that his Maid should be refus'd a place with Helen and Lavinia. Spenser has a better plea for his Fairy Queen, had his action been finish'd, or had been one; and Milton, if the Devil had not been his hero, instead of Adam; if the giant had not foil'd the knight, and driven htm out of his stronghold, to wander thro' the world with his lady errant; and if there had not been more machining per- sons than human in his poem. After these, the rest of our English poets shall not be mention'd. I have that honor for them which I ought to have; but, if they are worthies, they are not to be rank'd amongst the three whom I have nam'd, and who are establish'd in their reputation. . _-
? |4 DRYDEN'S TRANSLATION OF VIRGIL
Before I quitted the comparison betwixt epic poetry and tragedy, I should have acquainted my judge with one ad-
vantage of the former over the latter, which I now casually remember out of the preface of Segrais before his transla- tion of the . /Eneis, or out of Bossu, no matter which. The style of the heroic poem is, and ought to be, more lofty than that of the drama. The critic is certainly in the right, for the reason already urg'd; the work of tragedy is on the pas- sions, and in dialogue, both of them abhor strong metaphors,
in which the epopee delights. A poet cannot speak too plainly on the stage; for z_olat _rrevocabile _:erbum; the sense is lost, if it be not taken flying; but what we read alone, we have leisure to digest. There an author may beautify his sense by the boldness of his expression, which if we understand not fully at the first, we may dwell upon it till we find the secret force and excellence. That which cures the manners by alterative physic, as I said before, must proceed by insensible degrees; but that which purges tht passions must do its business all at once, or wholly fail of its effect, at least in the present operation, and without re. peated doses. We must beat the iron while 't is hot, but we may polish it at leisure. Thus, my Lord, you pay the fine of my forgetfulness; and yet the merits of both causes are
where they were, and undecided, till you declare whether it be more for the benefit of mankind to have their manners
in general corrected, or their pride and hard-heartedness remov'd.
I must now come closer to my present business, and not think of making more invasive wars abroad, when, like Han- nibal, I am ca11'd back to the defense of my own country.
Virgil is attack'd by many enemies; he has a whole con- federacy against him; and I must endeavor to defend him as well as I am able. But their principal objections being against his moral, the duration or length of time taken up
in the action of the poem, and what they have to urge against the manners of his hero, I shall omit the rest as mere cavils
of grammarians; at the worst, but casual slips of a great man's pen, or inconsiderable faults of an admirable poem, which the author had not leisure to review before t/is death.
Macrobius has answer'd what the ancients could urge against
? DEDICATION OF THE _NEIS IS
hlm; and some things I have lately read in Tatmeguy le F_vre, Valois, and another whom I name not, which are scarce worth answering. They begin with the moral of his poem, which I have elsewhere confess'd, and still must own, not to be so noble as that of Homer. But let both be fairly stated; and, without contradictang my first opinion, I can shew that Virgil's was as useful to the Romans of his age, as Homer's was to the Grecians of his, in what time soever he may be suppos'd to have liv'd and flourish'd. Homer's moral was to urge the necessity of union, and of a good understanding betwixt confederate states and princes engag'd m a war with a mighty monarch; as also of discipline in an army, and obedience in the several chiefs to the supreme commander of the joint forces. To inculcate this, he sets forth the ruinous effects of discord in the camp of those allies, occasion'd by the quarrel betwixt the general and one of the next in office under him Agamemnon gives the provocation, and Achilles resents the injury. Both parties are faulty in the quarrel, and accordingly they are both pun- ish'd; the aggressor is forc'd to sue for peace to his inferior on dishonorable conditions; the deserter refuses the satisfac- tion offer'd, and his obstinacy costs him his best friend. This works the natural effect of choler, and turns his ra. ge against him by whom he was last affronted, and most sen- sibly. The greater anger expels the less; but his character is still preserv'd. In the mean time, the Grecian army re- ceives loss on loss, and is half destroy'd by a pestilence into the bargain:
Quicquid delirant reges, plectunturAchlvl.
As the poet, in the first part of the example, had shewn the bad effects of discord, so, after the reconcilement, he gives the good effects of unity; for Hector is slain, and then Troy must fall. By this 't is probable that Homer liv'd when the Median monarchy was grown formidable to the Grecians, and that the joint endeavors of his cotmtrymen were little enough to preserve their common freedom from an encroaching enemy. Such was his moral, which all critics have allow'd to be more noble than that of Virgil, tho' not adapted to the times in which the Roman poet liv'd.
? 16 DRYDEN'S TRANSLATION OF V/RG/L
Had Virgil flourish'd in the age of Ennius, and address'd to Scipio, he had probably taken the same moral, or some other not unhke it. For then the Romans were in as much danger from the Carthaginian commonwealth as the Grecians were from the Assyrian or Median monarchy. But we are to consider him as writing his poem in a time when the old form of government was subverted, and a new one just estab- lish'd by Octavius Caesar, in effect by force of arms, but seemingly by the consent of the Roman people.
HTlle_e, nezo in death, lamented Pallas lay"
--Oage 361
? THE/_RVARD CLASSICS EDITED BJIr CHARLES W ELIOT LLD
VIRGIL'S _TENE ID TRANSL',TED BY JOHN DRYDEN
WITII INTRODUCTIONS AND NOTES
VOLUME 13
P F COLLIER & SON COMPANY NEW YORK
? By P F COL_IZR & SON MANUFACTURED I_ U S A
_INDI _. N"A UNIV _o,_ IT_r
LIB i'-__ Y INDIANAPOLIS
Designed. Printed. and Bound at ? ;be _. ollter lPre_, ,IP_et__orl_
? DEDICATION . . . . . . . . . . . . . . . . . .
pAGI8 5
75 XO3
I3l
I56
182
211
243
2_2
S97
3s6 360
394
CONTENTS
T-B FU_T BOOK OP THE _E_xs . . . . . . . . . . TEE SECOND BOOK OF Tm_ . _I_8 . . . . . . . . . THE THntD BOOK OF THE _NEIS . . . . . . . . . . T_8[E FOURTH BOOK OP THE _NEIS . . . . . . . . . T/KE FIFTH BOOK OF THE . _NEI8 . . . . . . . . .
SIXTH BOOK OF TEE . _NEIB . . . . . . . . . .
SEVENTH BOOK OP THE _NEIS . . . . . . . . .
EIGHTH BOOK oP THE _NEIS . . . . . . . . .
THB NINTH BOOK OP THE _HEIS . . . . . . . . . .
TH_ T_T_ Book o# THE ,tE_xs . . . . . . . . . THZ ELEVENTH BOOK OF THE . _NEm . . . . . . . . 'I_WELIW_H BOOK O_ THE _NEIB . . . . . . . .
H0--Vol. 18---i 1
? INTRODUCTORY NOTE
Pt,'m_s Vr_s M,_to, the frsend of Augustus and the great representative poet of the first age of the Roman Empire, was a man of humble origin. Born Oct. zS, B. C. 70, the son of a small farmer near Mantua in Northern Italy, he was educated at Cremona, Mdan, and Rome. Probably as a result of the turmo:l of the Csvil Wars, Virgil seems to have returned to h_ natwe district, where he was engaged for some ttme m writing h_s "Eclogues. " Though he was never a soldier, and though there is no evidence of h:_ having taken any par_ in politics, he suffered severely from the results of the wars. Hss fathers farm lay within the ter_tory which was confiscated by the Tr;umvsrs for the purpose of bestowing grants of land upon thew soldiers, and Virgil succeeded m having it restored only through the personal inter'uent:on of Octawanus, the future emperor. But a change of governors deprsved hm_ of protection, and he was forced to
desert kis heritage in peril o/deatk,escaping only by swimming the river Mmcw. The rest o/his life was spent farther south, in Rome, Naples, Ssc;ly, and elsewhere. As he gamed _eputat_on he became the possessor of a large fortune, bestowed upon hsm by the generosity of friends and patrons, the most d_tzngu_hed of whom, apart [rom Augustus, was M_cenas, the center of the literary aocsety of the day. The "Eclogues" had been finished :n B. C. 37, and m B. C. 30 he published hss great poem on farming, the "Georgics. " It is characteristic of h;s laborious method of composition that this work oflittle more than 2,0o0lmea occupzed hlm for seven years
The completion of the "Georgics" established Virgil's posstlon as the chief poet of h;s time; and at this momentous date, when, the Civil Wars over, the victorious Augustus was laying the foundations of imperial government, the poem which was to be the supreme expression ofthe national life was begun. At the end of eleven years Virgil had written the whole of the ",_neid;' and planned to devote three more to its final re'vision But this revision was never accomphshed, for returning from Athene w_th Augustus in B. C. zg, he was seined with illness and died on Sep- tember zz. He was buried at Naples, where his tomb guas long a placeof relsgious pilgrimage.
3
? 4 INTRODUCTORY NOTE
The modern appredahon of the "Ihad" and the #Odyssey" has
tended to carry with it a deprec,ation of the "A_neut,'" the spirit of which appeals less forcibly to the taste of our time. But it is foolish to lose sight o[ the splendor of a poet who, [or nearly two thousand years, has been one of the most powerful factors m European culture. "The concurrent testimony of the most refined minds of all timem," says one of the finest of h_s critics, "marks h,m out as one of the greatest masters of the language whwh touches the heart or moves the manher sens:b;hties, who has ever bred. A mature and mellow truth of sentiment, a conformsty to the deeper experiences of life sn every age, a fine humamty as well as a generous elevation of feehng, and some magical charm of music in hss words, have enabled them to _erve many m;nds m many ages as a symbol of some swelhng thought or overmastermg emotson, the force and meamng of which they could scarcely define to themselves "
The subtler elements of the exqmsste style of Vwgzl no tracm- lator can ever hope to reproduce, but Dryden was a master of Enghsh versification, and the content of V_rg_l's epw _s here rendered _n wgorous and nervous couplels. "Desptle man. ? , revoluhons of pubhc taste,'" says Professor Noyes, Dryden's latest editor, "Dryden's Virgil shll rema,n_ prachcally ztnthout a r,val as the standard translat*on of the greatest Roman poet; the only one that, like tzvo or three vers, ons of Homer. has become an English classic "
lJ_'o'den's "Dedication" is an excellent example of hzs prose style, and gives an interesting view o? lhe method and slandpotnt oI the greatest of English seventeenth century critics.
? TO THE
MOST HONORABLE
JOHN, LORD MARQUIS OF NORMANBY
EARL OF MULGRAVE, &C.
AND KNIGHT OF THE MOST NOBLE ORDER OF THE GARTER
HEROIC poem, truly such, is undoubtedly the great- est work which the soul of man is capable to per- form. The design of it is to form the mind to he-
roic virtue by example 'T is convey'd in verse, that it may delight, while it instructs: the action of it is always one, entire, and great. The least and most trivial episodes, or underactions, which are interwoven in it, are parts either necessary or convenient to carry on the main design ; either so necessary, that, without them, the poem must be imper- fect, or so convenient, that no others can be imagln'd more suitable to the place in which they are There is nothing to be left void in a firm building; even the cavities ought not to be fill'd with rubbish, (which is of a perishable kind, de- structive to the strength,) but with brick or stone, tho' of less pieces, yet of the same nature, and fitted to the cran- nies Even the least portions of them must be of the epic kind: all things must be grave, majestical,-and sublime; nothing of a foreign nature, like the trifling no_,els which Ariosto and others have inserted in their poems; by which the reader is misled into another sort of pleasure, opposite to that which is design'd in an epic poem. One raises the soul, and hardens it to virtue; the other softens it again, and unbends it into vice. One conduces to the poet's aim, the completing of his work, which he is driving on, laboring and hast'ning in every line; the other slackens his pace, 5
? 6 DRYDEN'S TRANSLATION OF VIRGIL
diverts him from his way, and locks him up, likl a knlghto errant, in an enchanted castle, when he should be pursuing his first adventure. Statius, as Bossu has well observ'd, was ambttlous of trying his strength with his master Virgil, as Virgil had before tried his with Homer. The Grecian gave the two Romans an example, in the games which were cele- brated at the funerals of Patroclus. V_rgil imltated the in- vention of Homer, but chang'd the sports. But both the Greek and Latin poet took their occasions from the sub- ject; tho' to confess the truth, they were both ornamental, or at best convenient parts of it, rather than of necessity arising from it. Statms, who, thro' his whole poem, is noted for want of conduct and judgment, instead of staying, as he might have done, for the death of Capaneus, Hippomedon,
Tydeus, or some other of his seven champions, (who are heroes all alike), or more properly for the tragical end of the-two brothers, whose exequies the next successor had lei- sure to perform when the siege was rais'd, and in the in- terval betwixt the poet's first action and his second, went out of his way, as it were on prepense malice, to commit a fault. For he took his opportumty to kill a royal infant by the means of a serpent (that author of all evil), to make way for those funeral honors which he intended for him. Now if th_s innocent had been of any relation to his Theba_? ; if he had either farther'd or hinder'd the taking of the town; the poet might have found some sorry excuse at least, for detaining the reader from the promis'd siege. On these tehns, this Capaneus of a poet ingag'd his two immortal predecessors; and his success was answerable to his en- terprise.
If this economy must be observ'd in the minutest parts of an epic poem, which, to a common reader, seem to be detach'd from the body, and almost independent of it; what soul, tho' sent into the world with great advantages of na- ture, cultivated with the liberal arts and sciences, conver- sant with histories of the dead, and enrich'd with observa- tions of the living, can be suifcient to inform the whole body of so great a work? I touch here but transiently, ,without any strict method, on some few of those many rules _f imitating nature which Aristotle drew from Homer's
? DEDICATION OF THE IENEIS 7
Iliads and Odysses, and which he fitted to the drama; fur- nishing himself also with observations from the practice of the theater when it flourish'd under 2Eschylus, Euripides, and Sophocles: for the original of the stage was from the epic poem. Narration, doubtless, preceded acting, and gave laws to it; what at first was told artfully,-was, in process of time, represented gracefully to the sight and hearing Those episodes of Homer which were proper for the stage, the poets amplified each into an action; out of his limbs they form'd their bodies; what he had contracted, they en- larg'd; out of one Hercules were made infinite of pigmies, yet all endued with human souls; for from him, their great creator, they have each of them the divine partlculara aure. They flow'd from him at first, and are at last resolv'd into him. Nor were they only animated by him, but their meas- ure and symmetry was owing to him. His one, entire, and great action was copied by them according to the propor- tions of the drama. If he finish'd his orb within the year, it suflic'd to teach them, that their action being less, and being also less diversified with incidents, their orb, of consequence, must be circumscrib'd in a less compass, which they reduc'd within the limits either of a natural or an artificial day; so that, as he taught them to amplify what he had shorten'd, by the same rule, applied the contrary way, he taught them to shorten what he had amplified. Tragedy is the miniature of human life; an epic poem is the draught at length.
THZ ELEVENTH BOOK OF THE . _NEm . . . . . . . . 'I_WELIW_H BOOK O_ THE _NEIB . . . . . . . .
H0--Vol. 18---i 1
? INTRODUCTORY NOTE
Pt,'m_s Vr_s M,_to, the frsend of Augustus and the great representative poet of the first age of the Roman Empire, was a man of humble origin. Born Oct. zS, B. C. 70, the son of a small farmer near Mantua in Northern Italy, he was educated at Cremona, Mdan, and Rome. Probably as a result of the turmo:l of the Csvil Wars, Virgil seems to have returned to h_ natwe district, where he was engaged for some ttme m writing h_s "Eclogues. " Though he was never a soldier, and though there is no evidence of h:_ having taken any par_ in politics, he suffered severely from the results of the wars. Hss fathers farm lay within the ter_tory which was confiscated by the Tr;umvsrs for the purpose of bestowing grants of land upon thew soldiers, and Virgil succeeded m having it restored only through the personal inter'uent:on of Octawanus, the future emperor. But a change of governors deprsved hm_ of protection, and he was forced to
desert kis heritage in peril o/deatk,escaping only by swimming the river Mmcw. The rest o/his life was spent farther south, in Rome, Naples, Ssc;ly, and elsewhere. As he gamed _eputat_on he became the possessor of a large fortune, bestowed upon hsm by the generosity of friends and patrons, the most d_tzngu_hed of whom, apart [rom Augustus, was M_cenas, the center of the literary aocsety of the day. The "Eclogues" had been finished :n B. C. 37, and m B. C. 30 he published hss great poem on farming, the "Georgics. " It is characteristic of h;s laborious method of composition that this work oflittle more than 2,0o0lmea occupzed hlm for seven years
The completion of the "Georgics" established Virgil's posstlon as the chief poet of h;s time; and at this momentous date, when, the Civil Wars over, the victorious Augustus was laying the foundations of imperial government, the poem which was to be the supreme expression ofthe national life was begun. At the end of eleven years Virgil had written the whole of the ",_neid;' and planned to devote three more to its final re'vision But this revision was never accomphshed, for returning from Athene w_th Augustus in B. C. zg, he was seined with illness and died on Sep- tember zz. He was buried at Naples, where his tomb guas long a placeof relsgious pilgrimage.
3
? 4 INTRODUCTORY NOTE
The modern appredahon of the "Ihad" and the #Odyssey" has
tended to carry with it a deprec,ation of the "A_neut,'" the spirit of which appeals less forcibly to the taste of our time. But it is foolish to lose sight o[ the splendor of a poet who, [or nearly two thousand years, has been one of the most powerful factors m European culture. "The concurrent testimony of the most refined minds of all timem," says one of the finest of h_s critics, "marks h,m out as one of the greatest masters of the language whwh touches the heart or moves the manher sens:b;hties, who has ever bred. A mature and mellow truth of sentiment, a conformsty to the deeper experiences of life sn every age, a fine humamty as well as a generous elevation of feehng, and some magical charm of music in hss words, have enabled them to _erve many m;nds m many ages as a symbol of some swelhng thought or overmastermg emotson, the force and meamng of which they could scarcely define to themselves "
The subtler elements of the exqmsste style of Vwgzl no tracm- lator can ever hope to reproduce, but Dryden was a master of Enghsh versification, and the content of V_rg_l's epw _s here rendered _n wgorous and nervous couplels. "Desptle man. ? , revoluhons of pubhc taste,'" says Professor Noyes, Dryden's latest editor, "Dryden's Virgil shll rema,n_ prachcally ztnthout a r,val as the standard translat*on of the greatest Roman poet; the only one that, like tzvo or three vers, ons of Homer. has become an English classic "
lJ_'o'den's "Dedication" is an excellent example of hzs prose style, and gives an interesting view o? lhe method and slandpotnt oI the greatest of English seventeenth century critics.
? TO THE
MOST HONORABLE
JOHN, LORD MARQUIS OF NORMANBY
EARL OF MULGRAVE, &C.
AND KNIGHT OF THE MOST NOBLE ORDER OF THE GARTER
HEROIC poem, truly such, is undoubtedly the great- est work which the soul of man is capable to per- form. The design of it is to form the mind to he-
roic virtue by example 'T is convey'd in verse, that it may delight, while it instructs: the action of it is always one, entire, and great. The least and most trivial episodes, or underactions, which are interwoven in it, are parts either necessary or convenient to carry on the main design ; either so necessary, that, without them, the poem must be imper- fect, or so convenient, that no others can be imagln'd more suitable to the place in which they are There is nothing to be left void in a firm building; even the cavities ought not to be fill'd with rubbish, (which is of a perishable kind, de- structive to the strength,) but with brick or stone, tho' of less pieces, yet of the same nature, and fitted to the cran- nies Even the least portions of them must be of the epic kind: all things must be grave, majestical,-and sublime; nothing of a foreign nature, like the trifling no_,els which Ariosto and others have inserted in their poems; by which the reader is misled into another sort of pleasure, opposite to that which is design'd in an epic poem. One raises the soul, and hardens it to virtue; the other softens it again, and unbends it into vice. One conduces to the poet's aim, the completing of his work, which he is driving on, laboring and hast'ning in every line; the other slackens his pace, 5
? 6 DRYDEN'S TRANSLATION OF VIRGIL
diverts him from his way, and locks him up, likl a knlghto errant, in an enchanted castle, when he should be pursuing his first adventure. Statius, as Bossu has well observ'd, was ambttlous of trying his strength with his master Virgil, as Virgil had before tried his with Homer. The Grecian gave the two Romans an example, in the games which were cele- brated at the funerals of Patroclus. V_rgil imltated the in- vention of Homer, but chang'd the sports. But both the Greek and Latin poet took their occasions from the sub- ject; tho' to confess the truth, they were both ornamental, or at best convenient parts of it, rather than of necessity arising from it. Statms, who, thro' his whole poem, is noted for want of conduct and judgment, instead of staying, as he might have done, for the death of Capaneus, Hippomedon,
Tydeus, or some other of his seven champions, (who are heroes all alike), or more properly for the tragical end of the-two brothers, whose exequies the next successor had lei- sure to perform when the siege was rais'd, and in the in- terval betwixt the poet's first action and his second, went out of his way, as it were on prepense malice, to commit a fault. For he took his opportumty to kill a royal infant by the means of a serpent (that author of all evil), to make way for those funeral honors which he intended for him. Now if th_s innocent had been of any relation to his Theba_? ; if he had either farther'd or hinder'd the taking of the town; the poet might have found some sorry excuse at least, for detaining the reader from the promis'd siege. On these tehns, this Capaneus of a poet ingag'd his two immortal predecessors; and his success was answerable to his en- terprise.
If this economy must be observ'd in the minutest parts of an epic poem, which, to a common reader, seem to be detach'd from the body, and almost independent of it; what soul, tho' sent into the world with great advantages of na- ture, cultivated with the liberal arts and sciences, conver- sant with histories of the dead, and enrich'd with observa- tions of the living, can be suifcient to inform the whole body of so great a work? I touch here but transiently, ,without any strict method, on some few of those many rules _f imitating nature which Aristotle drew from Homer's
? DEDICATION OF THE IENEIS 7
Iliads and Odysses, and which he fitted to the drama; fur- nishing himself also with observations from the practice of the theater when it flourish'd under 2Eschylus, Euripides, and Sophocles: for the original of the stage was from the epic poem. Narration, doubtless, preceded acting, and gave laws to it; what at first was told artfully,-was, in process of time, represented gracefully to the sight and hearing Those episodes of Homer which were proper for the stage, the poets amplified each into an action; out of his limbs they form'd their bodies; what he had contracted, they en- larg'd; out of one Hercules were made infinite of pigmies, yet all endued with human souls; for from him, their great creator, they have each of them the divine partlculara aure. They flow'd from him at first, and are at last resolv'd into him. Nor were they only animated by him, but their meas- ure and symmetry was owing to him. His one, entire, and great action was copied by them according to the propor- tions of the drama. If he finish'd his orb within the year, it suflic'd to teach them, that their action being less, and being also less diversified with incidents, their orb, of consequence, must be circumscrib'd in a less compass, which they reduc'd within the limits either of a natural or an artificial day; so that, as he taught them to amplify what he had shorten'd, by the same rule, applied the contrary way, he taught them to shorten what he had amplified. Tragedy is the miniature of human life; an epic poem is the draught at length. Here, my Lord, I must contract also; for, before I was aware, I was almost running into a long digression, to prove that there is no such absolute necessity that the time of a stage action should so strictly be confin'd to twenty-four hours as never to exceed them, for which Aristotle contends, and the Grecian stage has practic'd. Some longer space, on some occasions, I think, may be allow'd, especially for the English theater, which requires more variety of incidents than the French. Corneille himself, after long practice, was inclin'd to thi. l? that the time allotted by the ancients was too short to raise and finish a great action: and better a mechanic rule were stretch'd or broken, than a great beauty were omitted, To raise, and afterwards to calm the passions, to purge the souls from pride, by the examples of human miseries, which
? 8 DRYD_. N'S TRANSLATION OF VIRGIL
befall the greatest; in few words, to expel arrogance, and introduce compassion, are the great effects of tragedy; great, I must confess, if they were altogether as true as they are pompous. But are habits to be mtroduc'd at three hours' warning? Are radical diseases so suddenly remov'd? A mountebank may promise such a _:ure, but a skilful physi- cian will not undertake it. An epic poem is not in so much haste; it works leisurely; the changes which _t makes are slow; but the cure is likely to be more perfect. The effects of tragedy, as I sa_d, are too violent to be lasting If it be answer'd that, for this reason, tragedies are often to be seen, and the dose to be repeated, thls is tacitly to confess that there is more virtue in one heroic poem than in many trag- edies. A man is humbled one day, and his pride returns the next. Chymical medicines are observ'd to relieve oft'net than to cure; for 't is the nature of spirits to make swift impressions, but not deep. Galenical decoctions, to which I may properly compare an epic poem, have more of body in them; they work by their substance and their weight. It is
one reason of Artstofle's to prove that tragedy is the more noble, because it turns in a shorter compass; the whole action being circumscrib'd within the space of four-and-twenty hours. He might prove as well that a mushroom is to be preferr'd before a peach, because it shoots up in the compass of a night. A chariot may be driven round the pillar in less space than a large machine, because the bulk is not so great. Is the Moon a more noble planet than Saturn, be- cause she makes her revolution in less than thirty days, and he in little less than thirty years ? Both their orbs are in proportion to their several magnitudes; and consequently the quickness or slowness of their motion, and the time of their circumvolutions, is no argument of the greater or less perfection. And, besides, what virtue is there in a tragedy which is not contain'd in an epic poem, where pride is humbled, virtue rewarded, and vice punish'd; and those more amply treated than the narrowness of the drama can admit ? The shining quality of an epic hero, his magnanimity, his constancy, his patience, his piety, or whatever character- istical virtue his poet gives him, raises first our admiration. We are naturally prone to imitate what we admire; and fre-
? DEDICATION OF THE _NEIS 9 quent acts produce a habit. If the hero's chief quality be
vicious, as, for example, the choler and obstinate desire of vengeance in Achilles, yet the moral is instructive: and, be- sides, we are inform'd in the very proposition of the Ilmd_ thatthisangerwas pernicioust;hatit broughta thousand illosntheGreciancamp ThccourageofAchilleisspro- pos'dto imitationo,t hisprideand disobediencteohisgen- eral,norhisbrutalcruelttyohisdeadenemy,nor thesdHng hisbodytohisfather. We abhortheseactionswhilewe readthem;and what we abhorwe neverimitateThe poet onlyshewsthem,likerocksorquicksandst,obe shunn'd.
By thisexamplethecritichsaveconcludedthatitisnot
necessartyhemannersoftheheroshouldbe virtuous. They
arepoeticalgloyod,iftheyareof a piece:tho'w,here a char-
acterof perfecvtirtueissetbeforeus,'tismore lovelyf;or therethewholeheroistobe imitated. Thisisthe_neas
ofourauthor;thisisthatideaofperfectioinan epicpoem whichpaintersand statuariehsave onlyintheirminds,and whichno handsareabletoexpress. Thescarethebeauties of a god in a human body. When the pictureof Achilles isdrawn intragedyh,e istakenwiththosewarts,and moles, and hard featuresb,y thosewho represenhtim on thestage, orheisnomoreAchillesf;orhiscreatorH,omer,hasso describ'hdim. Yet eventhushe appearsa perfechtero,tho' an imperfectcharacteorf virtue. Horace paintshim after Homcr,anddeliverhsimtobecopiedonthestagewithall thoseimperfectionsT. hereforetheyareeithernotfaultisn a heroicpoem,or faultcsommon tothedrama. Afterall, on the whole meritsof the cause,itmust be acknowledg'd thattheepicpoem ismore forthemanners,and tragedy forthepassions. The passionsa,s I have said,areviolent; and acutedistempersreqtdrcmedicinesof a strongand speedy operation. Ill habits of the mind are like chronical diseases, to be corrected by degrees, and cur'd by alteratives; wherein, tho' purges are sometimes necessary, yet diet, good air, and moderate exercise have the greatest part. The matter being thus stated, it will appear that both sorts of poetry are of use for their proper ends. The stage is more active; the epic poem works at greater leisure, yet is active too, when need requires; for dialogue is imitated by the
? 10 DRYDEN'S TRANSLATION OF VIRGIL
drama from the more active parts of it. One puts off a fit, like the quinqui_a, and relieves us only for a time; the other roots out the distemper, and gives a healthful habit. The sun enlightens and cheers us, dispels fogs, and warms the ground with his daily beams, but the corn is sow'd, increases, is ripen'd, and is reap'd for use in process of time, and in its proper season. I proceed from the greatness of the action to the digmty of the actors; I mean to the persons employ'd in both poems. There likewise tragedy will be seen to bor- row from the epopee; and that which borrows is always of less dignity, because it has not of its own. A subject, 't is true, may lend to his sovereign, but the act of borrowing makes the king inferior, because he wants, and the subject supplies. And suppose the persons of the drama wholly fabulous, or of the poet's invention, yet heroic poetry gave him-the examples of that invention, because it was first, and Homer the common father of the stage. I know not of any one advantage which tragedy can boast above heroic poetry, but that it is represented to the view, as well as read, and instructs in the closet, as well as on the theater. This is an uncontended excellence, and a chief branch of its prerogative; yet I may be allow'd to say, without partiality, that herein the actors share the poet's praise. Your Lord- ship knows some modern tragedies which are beautiful on the stage, and yet I am confident you would not read them. Tryphon the stationer complains they are seldom ask'd for in his shop. The poet who flourish'd in the scene is damn'd in the ruelle; nay more, he is not esteem'd a good poet by those who see and hear his extravagances with delight. They are a sort of stately fustian, and lofty childishness. Nothing but nature can give a sincere pleasure; where that is not imitated, 't is grotesque painting; the fine woman ends in a fish's tail.
I might also add that many things which not only please, but are real beauties in the reading, would appear absurd upon the stage; and those not only the speciosa rairacula, as Horace calls them, of transformations, of Scylla, Antiphates, _d the L,zstrygons, which cannot be represented even in operas; but the prowess of Achilles or 2Eneas would appear
ridiculous in our dwarf heroes of the theater. ,We can be- L
? DEDICATION OF THE _NEIS 11 lieve they routed armies, in Homer or in Virgil ; but ne Her-
cules contra duos in the drama. I forbear to instance in many things which the stage cannot, or ought not to repre- sent; for I have said already more than I intended on this
subject, and should fear It might be turn'd against me, that I plead for the preeminence of epic poetry because I have taken some pains in translating Virgil, if this were the first time that I had deliver'd my opinion in this dispute. But I have more than once already maint_in'd the rights of my two masters against their rivals of the scene, even while I wrote tragedies myself, and had no thoughts of this present undertaking. I submit my opinion to your judgment, who are better quahfied than any man I know to decide this con- troversy. You come, my Lord, instructed in the cause, and needed not that I should open it. Your Essay of Poetry, which was pubhsh'd without a name, and of which I was not honor'd with the confidence, I read over and over witk much delight, and as much mstructmn, and, without flatter- ing you, or making myself more moral than I am, not with- out some envy. I was loth to be in_orm'd how an epic poem should be written, or how a tragedy should be contriv'd and manag'd, in better verse, and with more judgment, than I could teach others. A native of Parnassus, and bred up in the studies of its fundamental laws, may receive new lights from his contemporaries; but 't is a grudging kind of praise which he gives his benefactors. He is more oblig'd than he is willing to acknowledge; there is a tincture of malice in his commendations; for where I own I am taught, I confess my want of knowledge. A judge upon the bench may, out of good nature, or at least interest, encourage the pleadings of a puny counselor; but he does not willingly commend his brother sergeant at the bar, especially when he controls his law, and exposes that ignorance which is made sacred by his place. I gave the unknown author his due commenda- tion, I must confess; but who can answer for me and for the rest of the poets who heard me read the poem, whether we should not have been better pleas'd to have seen our own names at the bottom of the title-page? Perhaps we com- mended it the more, that we might seem to be above the
censure. We are naturally displeas'd with an unknown I
? 12 DRYDEN'S TRANSLATION OF VIRGIL
critic, as the ladies are with the lampooner, because we are bitten in the dark, and know not where to fasten our re- venge. But great excellencies will work their way thro' all sorts of opposltton I applauded rather out of decency than affection, and was ambitious, as some yet can witness, to be acquainted with a man with whom I had the honor to con- verse, and that almost daily, for so many years together. Heaven knows if I have heartily forgiven you this deceit. You extorted a praise which I should willingly have given, had I known you. Nothing had been more easy than to com- mend a patron of a long standmg. The world would join with me, if the encomtums were just; and, if unjust, would excuse a grateful flatterer. But to come anonymous upon me, and force me to commend you against my interest, was not altogether so fatr, give me leave to say, as it was pohtic;
for b2( concealing your quahty, you might clearly understand how your work succeeded, and that the general approbation was given to your merit, not your titles. Thus, hke Apelles, you stood unseen behind your own Venus, and receiv'd the praises of the passing multitude; the work was commended, not the author; and I doubt not this was one of the most pleasing adventures of your life.
I have detain'd your Lordship longer than I intended in this dispute of preference betwixt the epic poem and the drama, and yet have not formally answer'd any of the argu- ments which are brought by Artstotle on the other side, and set in the fairest light by Dacier. But I suppose, without lookmg on the book, I may have touch'd on some of the ob- jections; for, in this address to your Lordship, I design not a treatise of heroic poetry, but write in a loose epistolary way, somewhat tending to that subject, after the example of Horace, in his First Epistle of the Second Book, to Augustus C,_. sar, and of that to the Pisos, which we call his Art of Poetry; in both of which he observes no method that I can trace, whatever Scaliger the Father or Heinsius may have seen or rather think they had seen. I have taken up, laid down, and resum'd as often as I pleas'd, the same subject; and this loose proceeding I shall use thro' all this prefatory dedication. Yet all this while I have been sailing with some side wind or other toward the point I propos'd in
? DEDICATION OF THE _N_IS 13
the beginning, the greatness and excellency of an heroic poem, with some of the difficulties which attend that work. The comparison, therefore, which I made betwixt the epopee and the tragedy was not altogether a digression; for 't is con- cluded on all hands that they are both the masterpieces of
human wit.
In the mean time, I may be bold to draw this corollary
from what has been already said, that the file of heroic poets is very short; all are not such who have assum'd that lofty title in ancient or modern ages, or have been so esteem'd by their partial and ignorant admirers.
There have been but one great Ilias, and one ,_Eneis, in so many ages. The next, but the next with a long interval be-
twixt, was the Jeruadem: I mean not so much in dtstance of time, as in excellency. After these three are enter'd, some Lord Chamberlain should be appointed, some critic of authority should be set before the door, to keep out a crowd of little poets, who press for admission, and are not of quality. Mmvius would be deaf'ning your Lordship's ears wtth his
Fortunam Prtami cantabo, et noblle bellum--
mere fustian, as Horace would tell you from behind, without pressing forward, and more smoke than fire. Pulci, Boiardo, and Ariosto would cry out: "Make room for the Italian poets, the descendants of Virgal in a right line" Father Le Moine, with his Saint Louis; and Scuddry with his Alaric: "for a godly l_ng and a Gothic conqueror;" and Chapeaain would take it ill that his Maid should be refus'd a place with Helen and Lavinia. Spenser has a better plea for his Fairy Queen, had his action been finish'd, or had been one; and Milton, if the Devil had not been his hero, instead of Adam; if the giant had not foil'd the knight, and driven htm out of his stronghold, to wander thro' the world with his lady errant; and if there had not been more machining per- sons than human in his poem. After these, the rest of our English poets shall not be mention'd. I have that honor for them which I ought to have; but, if they are worthies, they are not to be rank'd amongst the three whom I have nam'd, and who are establish'd in their reputation. . _-
? |4 DRYDEN'S TRANSLATION OF VIRGIL
Before I quitted the comparison betwixt epic poetry and tragedy, I should have acquainted my judge with one ad-
vantage of the former over the latter, which I now casually remember out of the preface of Segrais before his transla- tion of the . /Eneis, or out of Bossu, no matter which. The style of the heroic poem is, and ought to be, more lofty than that of the drama. The critic is certainly in the right, for the reason already urg'd; the work of tragedy is on the pas- sions, and in dialogue, both of them abhor strong metaphors,
in which the epopee delights. A poet cannot speak too plainly on the stage; for z_olat _rrevocabile _:erbum; the sense is lost, if it be not taken flying; but what we read alone, we have leisure to digest. There an author may beautify his sense by the boldness of his expression, which if we understand not fully at the first, we may dwell upon it till we find the secret force and excellence. That which cures the manners by alterative physic, as I said before, must proceed by insensible degrees; but that which purges tht passions must do its business all at once, or wholly fail of its effect, at least in the present operation, and without re. peated doses. We must beat the iron while 't is hot, but we may polish it at leisure. Thus, my Lord, you pay the fine of my forgetfulness; and yet the merits of both causes are
where they were, and undecided, till you declare whether it be more for the benefit of mankind to have their manners
in general corrected, or their pride and hard-heartedness remov'd.
I must now come closer to my present business, and not think of making more invasive wars abroad, when, like Han- nibal, I am ca11'd back to the defense of my own country.
Virgil is attack'd by many enemies; he has a whole con- federacy against him; and I must endeavor to defend him as well as I am able. But their principal objections being against his moral, the duration or length of time taken up
in the action of the poem, and what they have to urge against the manners of his hero, I shall omit the rest as mere cavils
of grammarians; at the worst, but casual slips of a great man's pen, or inconsiderable faults of an admirable poem, which the author had not leisure to review before t/is death.
Macrobius has answer'd what the ancients could urge against
? DEDICATION OF THE _NEIS IS
hlm; and some things I have lately read in Tatmeguy le F_vre, Valois, and another whom I name not, which are scarce worth answering. They begin with the moral of his poem, which I have elsewhere confess'd, and still must own, not to be so noble as that of Homer. But let both be fairly stated; and, without contradictang my first opinion, I can shew that Virgil's was as useful to the Romans of his age, as Homer's was to the Grecians of his, in what time soever he may be suppos'd to have liv'd and flourish'd. Homer's moral was to urge the necessity of union, and of a good understanding betwixt confederate states and princes engag'd m a war with a mighty monarch; as also of discipline in an army, and obedience in the several chiefs to the supreme commander of the joint forces. To inculcate this, he sets forth the ruinous effects of discord in the camp of those allies, occasion'd by the quarrel betwixt the general and one of the next in office under him Agamemnon gives the provocation, and Achilles resents the injury. Both parties are faulty in the quarrel, and accordingly they are both pun- ish'd; the aggressor is forc'd to sue for peace to his inferior on dishonorable conditions; the deserter refuses the satisfac- tion offer'd, and his obstinacy costs him his best friend. This works the natural effect of choler, and turns his ra. ge against him by whom he was last affronted, and most sen- sibly. The greater anger expels the less; but his character is still preserv'd. In the mean time, the Grecian army re- ceives loss on loss, and is half destroy'd by a pestilence into the bargain:
Quicquid delirant reges, plectunturAchlvl.
As the poet, in the first part of the example, had shewn the bad effects of discord, so, after the reconcilement, he gives the good effects of unity; for Hector is slain, and then Troy must fall. By this 't is probable that Homer liv'd when the Median monarchy was grown formidable to the Grecians, and that the joint endeavors of his cotmtrymen were little enough to preserve their common freedom from an encroaching enemy. Such was his moral, which all critics have allow'd to be more noble than that of Virgil, tho' not adapted to the times in which the Roman poet liv'd.
? 16 DRYDEN'S TRANSLATION OF V/RG/L
Had Virgil flourish'd in the age of Ennius, and address'd to Scipio, he had probably taken the same moral, or some other not unhke it. For then the Romans were in as much danger from the Carthaginian commonwealth as the Grecians were from the Assyrian or Median monarchy. But we are to consider him as writing his poem in a time when the old form of government was subverted, and a new one just estab- lish'd by Octavius Caesar, in effect by force of arms, but seemingly by the consent of the Roman people.
