The Satires, Epistles, and Art of Poetry — Horace
You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title : The Satires, Epistles, and Art of Poetry of Horace Author : Horace Translator : John Conington Release date : April 1, 2004 [eBook #5419] Most recently updated: December 28, 2020 Language : English Other information and formats : www.gutenberg.org/ebooks/5419 Credits : Produced by David Moynihan, Charles Franks and the Online Distributed Proofreading Team *** START OF A. CORPUS PROFESSOR OF LATIN IN THE UNIVERSITY OF OXFORD. TO THE REV. W. H. THOMPSON, D.D. MASTER OF TRINITY COLLEGE, CAMBRIDGE, ETC. ETC. ETC. IN GRATITUDE FOR MANY KINDNESSES RECEIVED FROM HIM AND OTHER CAMBRIDGE FRIENDS, AND IN ACKNOWLEDGMENT OF THE COMPLIMENT PAID BY CAMBRIDGE TO OXFORD IN THE APPOINTMENT OF THE OXFORD LATIN PROFESSOR AS ONE OF THE ELECTORS TO HER LATIN CHAIR. PREFACE. In venturing to follow up my translation of the Odes of Horace by a version of the Satires and Epistles, I feel that I am in no way entitled to refer to the former as a justification of my boldness in undertaking the latter. Both classes of works are doubtless explicable as products of the same original genius: but they differ so widely in many of their characteristics, that success in rendering the one, though greater than any which I can hope to have attained, would afford no presumption that the translator would be found to have the least aptitude for the other. As a matter of fact, while the Odes still continue to invite translation after translation, the Satires and Epistles, popular as they were among translators and imitators a hundred years ago, have scarcely been attempted at all since that great revolution in literary taste which was effected during the last ten years of the last century and the first ten years of the present. Byron's Hints from Horace, Mr. Howes' forgotten but highly meritorious version of the Satires and Epistles, to which I hope to return before long, and a few experiments by Mr. Theodore Martin, published in the notes to his translation of the Odes and elsewhere, constitute perhaps the whole recent stock of which a new translator may be expected to take account. In one sense this is encouraging: in another dispiriting. The field is not pre-occupied: but the reason is, that general opinion has pronounced its cultivation unprofitable and hopeless. No doubt, apart from fluctuations in the taste of the reading public, there are special reasons why a version of this portion of Horace's works should be a difficult, perhaps an impracticable undertaking. It would not be easy to maintain that a Roman satirist was incapable of adequate representation in English in the face of such an instance to the contrary as Gifford's Juvenal, probably, take it all in all, the very best version of a classic in the language. But though Juvenal has many passages which sufficiently remind us of Horace, some of them light and playful, others level and almost flat, these do not form the staple of his Satires: there are passages of dignified declamation and passionate invective which suffer less in translation, and which may be so rendered as to leave a lasting impression of pleasure upon the mind of the reader. Like Horace, he has an abundance of local and temporary allusions, in dealing with which the most successful translator is the one who fails least: unlike Horace, when he quits the local and the temporary, he generally quits also the language of persiflage, and abandons himself unrestrainedly to feeling. Persiflage, I suppose, even in ordinary life, is much less easy to practise with perfect success than a graver and less artificial mode of speaking, though, perhaps for that very reason, it is apt to be more sought after: the persiflage of a writer of another nation and of a past age is of necessity peculiarly difficult to realize and reproduce. Nothing is so variable as the standard of taste in a matter like this: even on the minor question, what expressions may and what may not be tolerated in good society, probably no two persons think exactly alike: and when we come to inquire not simply what is admissible but what is excellent, and still more, what is characteristic of a particular type of mind, we must expect to meet with still less unanimity of judgment. The wits of the Restoration answered the question very differently from the way in which it would be answered now; even Pope and his contemporaries would not be accepted as quite infallible arbiters of social and colloquial refinement in an age like the present. Whether Horace is grave or gay in his familiar writings, his charm depends almost wholly on his manner: a modern who attempts to reproduce him runs an imminent risk first of losing all charm whatever, secondly of missing completely that individuality of attractiveness which makes the charm of Horace unlike the charm of any one else. Without however enlarging further on the peculiar difficulty of the task, I will proceed to say a few words on some of the special questions which a translator of the Satires and Epistles has to encounter, and the way in which, as it appears to me, he may best deal with them. These questions, I need hardly say, mainly resolve themselves into the metre and the style. With regard to the metre, I have myself but little doubt that the measure in which Horace may best be represented is the heroic as I suppose we must call it, of ten syllables. The one competing measure of course is the Hudibrastic octosyllabic. This latter metre is not without considerable authority in its favour. Two translators, Smart and Boscawen, have rendered the whole, or nearly the whole of these poems in that and no other way: Francis occasionally adopts it, though he generally uses the longer measure: Swift and Pope, as ever