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FROM OVID'S AMOURS.
BOOK I. ELEG. 1

 
For mighty wars I thought to tune my lute,
And make my measures to my subject suit.
Six feet for every verse the Muse designed;}
But Cupid, laughing, when he saw my mind, }
From every second verse a foot purloined. }
Who gave thee, boy, this arbitrary sway, }
On subjects, not thy own, commands to lay,}
Who Phœbus only and his laws obey? }
'Tis more absurd than if the Queen of Love
Should in Minerva's arms to battle move;
Or manly Pallas from that queen should take
Her torch, and o'er the dying lover shake:
In fields as well may Cynthia sow the corn,
Or Ceres wind in woods the bugle-horn:
As well may Phœbus quit the trembling string,
For sword and shield; and Mars may learn to sing.
Already thy dominions are too large;
Be not ambitious of a foreign charge.
If thou wilt reign o'er all, and every where,
The God of Music for his harp may fear.
Thus, when with soaring wings I seek renown,
Thou pluck'st my pinions, and I flutter down.
Could I on such mean thoughts my Muse employ,
I want a mistress, or a blooming boy. —
Thus I complained; his bow the stripling bent,
And chose an arrow fit for his intent.
The shaft his purpose fatally pursues; —
Now, poet, there's a subject for thy Muse! —
He said. Too well, alas, he knows his trade;
For in my breast a mortal wound he made.
Far hence, ye proud hexameters, remove,
My verse is paced and trammelled into love.
With myrtle wreaths my thoughtful brows inclose,
While in unequal verse I sing my woes.
 

FROM OVID'S AMOURS.
BOOK I. ELEG. 4

To his Mistress, whose Husband is invited to a Feast with them. The Poet instructs her how to behave herself in his company.

 
Your husband will be with us at the treat;
May that be the last supper he shall eat!
And am poor I a guest invited there,
Only to see, while he may touch the fair?
To see you kiss and hug your nauseous lord,
While his lewd hand descends below the board?
Now wonder not that Hippodamia's charms,
At such a sight, the Centaurs urged to arms;
That in a rage they threw their cups aside,
Assailed the bridegroom, and would force the bride.
I am not half a horse, (I would I were!)
Yet hardly can from you my hands forbear.
Take then my counsel; which, observed, may be
Of some importance both to you and me.
Be sure to come before your man be there;
There's nothing can be done; but come, howe'er.
Sit next him, (that belongs to decency,)
But tread upon my foot in passing by;
Read in my looks what silently they speak,
And slily, with your eyes, your answer make.
My lifted eye-brow shall declare my pain;
My right-hand to his fellow shall complain,
And on the back a letter shall design,
Besides a note that shall be writ in wine.
Whene'er you think upon our last embrace,
With your fore-finger gently touch your face;
If any word of mine offend my dear,
Pull, with your hand, the velvet of your ear;
If you are pleased with what I do or say,
Handle your rings, or with your fingers play;
As suppliants use at altars, hold the board,
Whene'er you wish the devil may take your lord.
When he fills for you, never touch the cup,
But bid the officious cuckold drink it up.
The waiter on those services employ;
Drink you, and I will snatch it from the boy,
Watching the part where your sweet mouth hath been,
And thence with eager lips will suck it in.
If he, with clownish manners, thinks it fit
To taste, and offer you the nasty bit,
Reject his greasy kindness, and restore
The unsavoury morsel he had chewed before.
Nor let his arms embrace your neck, nor rest
Your tender cheek upon his hairy breast;
Let not his hand within your bosom stray,
And rudely with your pretty bubbies play;
But, above all, let him no kiss receive!
That's an offence I never can forgive.
Do not, O do not that sweet mouth resign,
Lest I rise up in arms, and cry, 'tis mine.
I shall thrust in betwixt, and, void of fear,
The manifest adulterer will appear.
These things are plain to sight; but more I doubt
What you conceal beneath your petticoat.
Take not his leg between your tender thighs,
Nor, with your hand, provoke my foe to rise.
How many love-inventions I deplore,
Which I myself have practised all before!
How oft have I been forced the robe to lift
In company; to make a homely shift
For a bare bout, ill huddled o'er in haste,
While o'er my side the fair her mantle cast!
You to your husband shall not be so kind;
But, lest you should, your mantle leave behind.
Encourage him to tope; but kiss him not,
Nor mix one drop of water in his pot.
If he be fuddled well, and snores apace,
Then we may take advice from time and place.
When all depart, when compliments are loud,
Be sure to mix among the thickest crowd;
There I will be, and there we cannot miss,
Perhaps to grubble, or at least to kiss.
Alas! what length of labour I employ,
Just to secure a short and transient joy!
For night must part us; and when night is come,
Tucked underneath his arm he leads you home.
He locks you in; I follow to the door,
His fortune envy, and my own deplore.
He kisses you, he more than kisses too;
The outrageous cuckold thinks it all his due.
But add not to his joy by your consent,
And let it not be given, but only lent.
Return no kiss, nor move in any sort;
Make it a dull and a malignant sport.
Had I my wish, he should no pleasure take,
But slubber o'er your business for my sake;
And whate'er fortune shall this night befal,
Coax me to-morrow, by forswearing all.
 

PREFACE ON TRANSLATION, PREFIXED TO DRYDEN's SECOND MISCELLANY, PUBLISHED IN 1685

For this last half year I have been troubled with the disease (as I may call it) of translation. The cold prose fits of it, which are always the most tedious with me, were spent in the History of the League;⁴⁷ the hot, which succeeded them, in this volume of Verse Miscellanies. The truth is, I fancied to myself a kind of ease in the change of the paroxysm; never suspecting but that the humour would have wasted itself in two or three pastorals of Theocritus, and as many odes of Horace. But finding, or at least thinking I found, something that was more pleasing in them than my ordinary productions, I encouraged myself to renew my old acquaintance with Lucretius and Virgil; and immediately fixed upon some parts of them, which had most affected me in the reading.

These were my natural impulses for the undertaking. But there was an accidental motive which was full as forcible, and God forgive him who was the occasion of it. It was my Lord Roscommon's "Essay on Translated Verse;"⁴⁸ which made me uneasy till I tried whether or no I was capable of following his rules, and of reducing the speculation into practice. For, many a fair precept in poetry is, like a seeming demonstration in the mathematics, very specious in the diagram, but failing in the mechanic operation. I think I have generally observed his instructions; I am sure my reason is sufficiently convinced both of their truth and usefulness; which, in other words, is to confess no less a vanity, than to pretend that I have, at least in some places, made examples to his rules. Yet, withal, I must acknowledge, that I have many times exceeded my commission; for I have both added and omitted, and even sometimes very boldly made such expositions of my author's, as no Dutch commentator will forgive me. Perhaps, in such particular passages, I have thought that I discovered some beauty yet undiscovered by those pedants, which none but a poet could have found. Where I have taken away some of their expressions, and cut them shorter, it may possibly be on this consideration, that what was beautiful in the Greek or Latin, would not appear so shining in the English: and where I have enlarged them, I desire the false critics would not always think, that those thoughts are wholly mine, but that either they are secretly in the poet, or may be fairly deduced from him; or at least, if both those considerations should fail, that my own is of a piece with his, and that if he were living, and an Englishman, they are such as he would probably have written.

For, after all, a translator is to make his author appear as charming as possibly he can, provided he maintains his character, and makes him not unlike himself. Translation is a kind of drawing after the life; where every one will acknowledge there is a double sort of likeness, a good one and a bad. It is one thing to draw the outlines true, the features like, the proportions exact, the colouring itself perhaps tolerable; and another thing to make all these graceful, by the posture, the shadowings, and, chiefly, by the spirit which animates the whole. I cannot, without some indignation, look on an ill copy of an excellent original; much less can I behold with patience Virgil, Homer, and some others, whose beauties I have been endeavouring all my life to imitate, so abused, as I may say, to their faces, by a botching interpreter. What English readers, unacquainted with Greek or Latin, will believe me, or any other man, when we commend those authors, and confess we derive all that is pardonable in us from their fountains, if they take those to be the same poets, whom our Oglebies have translated? But I dare assure them, that a good poet is no more like himself, in a dull translation, than his carcase would be to his living body. There are many, who understand Greek and Latin, and yet are ignorant of their mother-tongue. The proprieties and delicacies of the English are known to few; it is impossible even for a good wit to understand and practise them, without the help of a liberal education, long reading, and digesting of those few good authors we have amongst us, the knowledge of men and manners, the freedom of habitudes and conversation with the best company of both sexes; and, in short, without wearing off the rust which he contracted while he was laying in a stock of learning. Thus difficult it is to understand the purity of English, and critically to discern not only good writers from bad, and a proper style from a corrupt, but also to distinguish that which is pure in a good author, from that which is vicious and corrupt in him. And for want of all these requisites, or the greatest part of them, most of our ingenious young men take up some cried-up English poet for their model, adore him, and imitate him, as they think, without knowing wherein he is defective, where he is boyish and trifling, wherein either his thoughts are improper to his subject, or his expressions unworthy of his thoughts, or the turn of both is unharmonious. Thus it appears necessary, that a man should be a nice critic in his mother-tongue, before he attempts to translate in a foreign language. Neither is it sufficient, that he be able to judge of words and style; but he must be a master of them too; he must perfectly understand his author's tongue, and absolutely command his own. So that, to be a thorough translator, he must be a thorough poet. Neither is it enough to give his author's sense in good English, in poetical expressions, and in musical numbers; for, though all these are exceeding difficult to perform, there yet remains a harder task; and it is a secret of which few translators have sufficiently thought. I have already hinted a word or two concerning it; that is, the maintaining the character of an author, which distinguishes him from all others, and makes him appear that individual poet whom you would interpret. For example, not only the thoughts, but the style and versification, of Virgil and Ovid are very different: Yet I see, even in our best poets, who have translated some parts of them, that they have confounded their several talents; and, by endeavouring only at the sweetness and harmony of numbers, have made them both so much alike, that, if I did not know the originals, I should never be able to judge by the copies, which was Virgil, and which was Ovid. It was objected against a late noble painter,⁴⁹ that he drew many graceful pictures, but few of them were alike. And this happened to him, because he always studied himself more than those who sat to him. In such translators I can easily distinguish the hand which performed the work, but I cannot distinguish their poet from another. Suppose two authors are equally sweet, yet there is as great distinction to be made in sweetness, as in that of sugar, and that of honey. I can make the difference more plain, by giving you (if it be worth knowing) my own method of proceeding, in my translations out of four several poets in this volume; Virgil, Theocritus, Lucretius, and Horace. In each of these, before I undertook them, I considered the genius and distinguishing character of my author. I looked on Virgil as a succinct, and grave majestic writer; one who weighed, not only every thought, but every word and syllable; who was still aiming to crowd his sense into as narrow a compass as possibly he could; for which reason he is so very figurative, that he requires (I may almost say) a grammar apart to construe him.

His verse is every where sounding the very thing in your ears, whose sense it bears; yet the numbers are perpetually varied, to increase the delight of the reader; so that the same sounds are never repeated twice together. On the contrary, Ovid and Claudian, though they write in styles differing from each other, yet have each of them but one sort of music in their verses. All the versification and little variety of Claudian is included within the compass of four or five lines, and then he begins again in the same tenor; perpetually closing his sense at the end of a verse, and that verse commonly which they call golden, or two substantives and two adjectives, with a verb betwixt them to keep the peace. Ovid, with all his sweetness, has as little variety of numbers and sound as he: he is always, as it were, upon the hand-gallop, and his verse runs upon carpet-ground. He avoids, like the other, all synalæphas, or cutting off one vowel when it comes before another in the following word; so that, minding only smoothness, he wants both variety and majesty. – But to return to Virgil: though he is smooth where smoothness is required, yet he is so far from affecting it, that he seems rather to disdain it; frequently makes use of synalæphas, and concludes his sense in the middle of his verse. He is every where above conceits of epigrammatic wit, and gross hyperboles; he maintains majesty in the midst of plainness; he shines, but glares not; and is stately without ambition, which is the vice of Lucan. I drew my definition of poetical wit from my particular consideration of him: for propriety of thoughts and words are only to be found in him; and, where they are proper, they will be delightful. Pleasure follows of necessity, as the effect does the cause; and therefore is not to be put into the definition. This exact propriety of Virgil I particularly regarded, as a great part of his character; but must confess, to my shame, that I have not been able to translate any part of him so well, as to make him appear wholly like himself: for, where the original is close, no version can reach it in the same compass. Hannibal Caro's,⁵⁰ in the Italian, is the nearest, the most poetical, and the most sonorous of any translation of the Æneids; yet, though he takes the advantage of blank verse, he commonly allows two lines for one of Virgil, and does not always hit his sense. Tasso tells us, in his letters, that Sperone Speroni, a great Italian wit, who was his contemporary, observed of Virgil and Tully, that the Latin orator endeavoured to imitate the copiousness of Homer, the Greek poet; and that the Latin poet made it his business to reach the conciseness of Demosthenes, the Greek orator. Virgil therefore, being so very sparing of his words, and leaving so much to be imagined by the reader, can never be translated as he ought, in any modern tongue. To make him copious, is to alter his character; and to translate him line for line, is impossible; because the Latin is naturally a more succinct language than either the Italian, Spanish, French, or even than the English, which, by reason of its monosyllables, is far the most compendious of them. Virgil is much the closest of any Roman poet, and the Latin hexameter has more feet than the English heroick.

Besides all this, an author has the choice of his own thoughts and words, which a translator has not; he is confined by the sense of the inventor to those expressions which are the nearest to it: so that Virgil, studying brevity, and having the command of his own language, could bring those words into a narrow compass, which a translator cannot render without circumlocutions. In short, they, who have called him the torture of grammarians, might also have called him the plague of translators; for he seems to have studied not to be translated.

I own that, endeavouring to turn his "Nisus and Euryalus" as close as I was able, I have performed that episode too literally; that, giving more scope to "Mezentius and Lausus," that version, which has more of the majesty of Virgil, has less of his conciseness; and all that I can promise for myself, is only, that I have done both better than Ogleby, and perhaps as well as Caro; so that, methinks, I come like a malefactor, to make a speech upon the gallows, and to warn all other poets, by my sad example, from the sacrilege of translating Virgil. Yet, by considering him so carefully as I did before my attempt, I have made some faint resemblance of him; and, had I taken more time, might possibly have succeeded better; but never so well as to have satisfied myself.

He who excels all other poets in his own language, were it possible to do him right, must appear above them in our tongue, which, as my Lord Roscommon justly observes, approaches nearest to the Roman in its majesty; nearest indeed, but with a vast interval betwixt them. There is an inimitable grace in Virgil's words, and in them principally consists that beauty, which gives so inexpressible a pleasure to him who best understands their force. This diction of his (I must once again say) is never to be copied; and, since it cannot, he will appear but lame in the best translation. The turns of his verse, his breakings, his propriety, his numbers, and his gravity, I have as far imitated, as the poverty of our language, and the hastiness of my performance, would allow. I may seem sometimes to have varied from his sense; but I think the greatest variations may be fairly deduced from him; and where I leave his commentators, it may be I understand him better: at least I writ without consulting them in many places. But two particular lines in Mezentius and Lausus, I cannot so easily excuse. They are indeed remotely allied to Virgil's sense; but they are too like the trifling tenderness of Ovid, and were printed before I had considered them enough to alter them. The first of them I have forgotten, and cannot easily retrieve, because the copy is at the press. The second is this:

 
When Lausus died, I was already slain.
 

This appears pretty enough at first sight; but I am convinced, for many reasons, that the expression is too bold; that Virgil would not have said it, though Ovid would. The reader may pardon it, if he please, for the freeness of the confession; and instead of that, and the former, admit these two lines, which are more according to the author:

 
Nor ask I life, nor fought with that design;
As I had used my fortune, use thou thine.
 

Having with much ado got clear of Virgil, I have, in the next place, to consider the genius of Lucretius, whom I have translated more happily in those parts of him which I undertook. If he was not of the best age of Roman poetry, he was at least of that which preceded it;⁵¹ and he himself refined it to that degree of perfection, both in the language and the thoughts, that he left an easy task to Virgil; who, as he succeeded him in time, so he copied his excellencies; for the method of the Georgics is plainly derived from him. Lucretius had chosen a subject naturally crabbed; he therefore adorned it with poetical descriptions, and precepts of morality, in the beginning and ending of his books, which you see Virgil has imitated with great success in those four books, which, in my opinion, are more perfect in their kind than even his divine Æneids. The turn of his verses he has likewise followed in those places which Lucretius has most laboured, and some of his very lines he has transplanted into his own works, without much variation. If I am not mistaken, the distinguishing character of Lucretius (I mean of his soul and genius) is a certain kind of noble pride, and positive assertion of his opinions. He is every where confident of his own reason, and assuming an absolute command, not only over his vulgar reader, but even his patron Memmius. For he is always bidding him attend, as if he had the rod over him; and using a magisterial authority, while he instructs him. From his time to ours, I know none so like him, as our poet and philosopher of Malmesbury.⁵² This is that perpetual dictatorship, which is exercised by Lucretius; who, though often in the wrong, yet seems to deal bonȃ fide with his reader, and tells him nothing but what he thinks; in which plain sincerity, I believe, he differs from our Hobbes, who could not but be convinced, or at least doubt of some eternal truths, which he has opposed. But for Lucretius, he seems to disdain all manner of replies, and is so confident of his cause, that he is beforehand with his antagonists; urging for them whatever he imagined they could say, and leaving them, as he supposes, without an objection for the future: all this, too, with so much scorn and indignation, as if he were assured of the triumph, before he entered into the lists. From this sublime and daring genius of his, it must of necessity come to pass, that his thoughts must be masculine, full of argumentation, and that sufficiently warm. From the same fiery temper proceeds the loftiness of his expressions, and the perpetual torrent of his verse, where the barrenness of his subject does not too much constrain the quickness of his fancy. For there is no doubt to be made, but that he could have been every where as poetical, as he is in his descriptions, and in the moral part of his philosophy, if he had not aimed more to instruct, in his system of nature, than to delight. But he was bent upon making Memmius a materialist, and teaching him to defy an invisible power: in short, he was so much an atheist, that he forgot sometimes to be a poet. These are the considerations, which I had of that author, before I attempted to translate some parts of him. And accordingly I laid by my natural diffidence and scepticism for a while, to take up that dogmatical way of his, which, as I said, is so much his character, as to make him that individual poet. As for his opinions concerning the mortality of the soul, they are so absurd, that I cannot, if I would, believe them. I think a future state demonstrable even by natural arguments; at least, to take away rewards and punishments is only a pleasing prospect to a man, who resolves beforehand not to live morally. But, on the other side, the thought of being nothing after death is a burthen insupportable to a virtuous man, even though a heathen. We naturally aim at happiness, and cannot bear to have it confined to the shortness of our present being; especially when we consider, that virtue is generally unhappy in this world, and vice fortunate: so that it is hope of futurity alone, that makes this life tolerable, in expectation of a better. Who would not commit all the excesses, to which he is prompted by his natural inclinations, if he may do them with security while he is alive, and be incapable of punishment after he is dead? If he be cunning and secret enough to avoid the laws, there is no band of morality to restrain him: for fame and reputation are weak ties; many men have not the least sense of them. Powerful men are only awed by them, as they conduce to their interest, and that not always, when a passion is predominant; and no man will be contained within the bounds of duty, when he may safely transgress them. These are my thoughts abstractedly, and without entering into the notions of our Christian faith, which is the proper business of divines.

But there are other arguments in this poem (which I have turned into English) not belonging to the mortality of the soul, which are strong enough to a reasonable man, to make him less in love with life, and consequently in less apprehensions of death. Such as are the natural satiety proceeding from a perpetual enjoyment of the same things; the inconveniences of old age, which make him incapable of corporeal pleasures; the decay of understanding and memory, which render him contemptible, and useless to others. These, and many other reasons, so pathetically urged, so beautifully expressed so adorned with examples, and so admirably raised by the prosopopeia of Nature, who is brought in speaking to her children with so much authority and vigour, deserve the pains I have taken with them, which I hope have not been unsuccessful, or unworthy of my author: at least I must take the liberty to own, that I was pleased with my own endeavours, which but rarely happens to me; and that I am not dissatisfied upon the review of any thing I have done in this author.

It is true, there is something, and that of some moment, to be objected against my englishing the Nature of Love, from the fourth book of Lucretius; and I can less easily answer why I translated it, than why I thus translated it. The objection arises from the obscenity of the subject; which is aggravated by the too lively and alluring delicacy of the verses. In the first place, without the least formality of an excuse, I own it pleased me; and let my enemies make the worst they can of this confession. I am not yet so secure from that passion, but that I want my author's antidotes against it. He has given the truest and most philosophical account, both of the disease and remedy, which I ever found in any author; for which reasons I translated him. But it will be asked, why I turned him into this luscious English, for I will not give it a worse word. Instead of an answer, I would ask again of my supercilious adversaries, whether I am not bound, when I translate an author, to do him all the right I can, and to translate him to the best advantage? If, to mince his meaning, which I am satisfied was honest and instructive, I had either omitted some part of what he said, or taken from the strength of his expression, I certainly had wronged him; and that freeness of thought and words being thus cashiered in my hands, he had no longer been Lucretius. If nothing of this kind be to be read, physicians must not study nature, anatomies must not be seen, and somewhat I could say of particular passages in books, which, to avoid profaneness, I do not name. But the intention qualifies the act; and both mine and my author's were to instruct, as well as please. It is most certain, that bare-faced bawdry is the poorest pretence to wit imaginable. If I should say otherwise, I should have two great authorities against me: the one is the "Essay on Poetry," which I publicly valued before I knew the author of it, and with the commendation of which my Lord Roscommon so happily begins his "Essay on Translated Verse;" the other is no less than our admired Cowley, who says the same thing in other words; for, in his "Ode concerning Wit," he writes thus of it:

 
Much less can that have any place,
At which a virgin hides her face;
Such dross the fire must purge away; 'tis just
The author blush, there, where the reader must.
 

Here indeed Mr Cowley goes farther than the Essay; for he asserts plainly, that obscenity has no place in wit; the other only says, it is a poor pretence to it, or an ill sort of wit, which has nothing more to support it than bare-faced ribaldry; which is both unmannerly in itself, and fulsome to the reader. But neither of these will reach my case: for, in the first place, I am only the translator, not the inventor; so that the heaviest part of the censure falls upon Lucretius, before it reaches me: in the next place, neither he nor I have used the grossest words, but the cleanliest metaphors we could find, to palliate the broadness of the meaning; and, to conclude, have carried the poetical part no farther, than the philosophical exacted.⁵³

There is one mistake of mine, which I will not lay to the printer's charge, who has enough to answer for in false pointings; it is in the word, viper: I would have the verse run thus:

The scorpion, love, must on the wound be bruised.⁵⁴

There are a sort of blundering, half-witted people, who make a great deal of noise about a verbal slip; though Horace would instruct them better in true criticism:

 
– non ego paucis
Offendar maculis, quas aut incuria fudit,
Aut humana parùm cavit natura.
 

True judgment in poetry, like that in painting, takes a view of the whole together, whether it be good or not; and where the beauties are more than the faults, concludes for the poet against the little judge. It is a sign that malice is hard driven, when it is forced to lay hold on a word or syllable: to arraign a man is one thing, and to cavil at him is another. In the midst of an ill-natured generation of scribblers, there is always justice enough left in mankind, to protect good writers: and they too are obliged, both by humanity and interest, to espouse each other's cause, against false critics, who are the common enemies. This last consideration puts me in mind of what I owe to the ingenious and learned translator of Lucretius.⁵⁵ I have not here designed to rob him of any part of that commendation which he has so justly acquired by the whole author, whose fragments only fall to my portion. What I have now performed is no more than I intended above twenty years ago. The ways of our translation are very different. He follows him more closely than I have done, which became an interpreter of the whole poem: I take more liberty, because it best suited with my design, which was, to make him as pleasing as I could. He had been too voluminous, had he used my method in so long a work; and I had certainly taken his, had I made it my business to translate the whole. The preference, then, is justly his; and I join with Mr Evelyn in the confession of it, with this additional advantage to him, that his reputation is already established in this poet, mine is to make its fortune in the world. If I have been any where obscure, in following our common author, or if Lucretius himself is to be condemned, I refer myself to his excellent annotations, which I have often read, and always with some new pleasure.