Above and beyond the technical advances in prosody, Surrey’s translation introduced a heroic idiom to English. “nourished,” “surprised,” “honor,” “imprinted,” and “pictures”) have crept in to take their place among the Anglo-Saxon words. Ne to her limbs care granteth quiet rest. Imprinted stack his words, and pictures form. Surprised with blind flame and to her mindĪnd honor of his race: while in her breast Throughout the veins she nourished the plaie, His translation not only introduced blank verse to the English language but also established the accentual-syllabic system that would predominate in English-language poetry until the 1950s.īut now the wounded Queen, with heavy care,
Ezra Pound, an impresario of exquisite taste, praised Douglas’s version for its fidelity to the Latin and its “richness and fervour,” and championed it as the best Aeneid translation (Emily Wilson, Passions and a Man, New Republic Online, ).įorty years later Henry Howard, Earl of Surrey published his translations of Books Two and Four of the Aeneid as Certain Bokes of Virgiles Aenaeis. In this passage we can see English prosody struggling to become its future. The second line, for example, has ten syllables (“In every vein nourishes the green wound”) but fails to scan as a line of iambic pentameter. The form wavers between the syllabics of the Romance languages (Italian and French) and the accentual-syllabic meter that was to become standard in English. “remove,” “compassing,” “figure,” “fixed,” and “members”) pepper the rough-and-ready Anglo-Saxon diction that comprises the majority of the passage. (Book 4, lines 1-10)Ī few Latinate words (e.g. None of her members nor quiet suffer mocht. Of his lineage and folks for aye presentĭeep in her heart so was his figure prent ,Īnd all his words fixed, that for busy thought Her troubled mind ‘gan from all rest remove.Ĭompassing the great prowess of Ene , Smitten so deep with the blind fire of love
I have modernized the spelling:īy this the Queen, through heavy thoughts unsound, The following passage describes the development of Queen Dido’s obsessive passion for Aeneas in terms of a wound and subsequent infection. His endearing brogue is at times incomprehensible to the contemporary reader. Gavin Douglas’s translation of the Aeneid, the Eneados (1513), into Middle Scots was the first complete translation of a major Classical work into English or an Anglic language. Our story begins five hundred years ago in the sixteenth century, when our language was settling into something like its present form. No, the Aeneid’s politics are not for us. We here in the twenty-first century want heroes with a rebellious spirit and abhor empires for their oppression of native peoples. Though poets of yore found in it a justification for British imperial ambition, the epic feels in places as if it were written with the express purpose of turning off contemporary readers-the hero’s great virtue is the Roman ideal of pietas ("piety, dutiful respect"), and the narrative is a kind of literary empire-building. Translations and re-translations are fascinating because they reveal the tastes (and limitations) of past ages and our own. Now seems a good time to review the history of this very Roman poem in English. Translations of the Aeneid have, in fact, inaugurated major literary movements. to which he would return time and time again through his life,” so the often-translated epic itself has been a touchstone for changing literary and cultural tastes throughout the course of English literature. In the same way as the epic was, in the words of his daughter Catherine Heaney, “a touchstone.
In two months’ time Farrar, Straus and Giroux will release Seamus Heaney’s translation of Book Six of the Aeneid.
0 kommentar(er)
