The Iliad of Homer - Homer (classic novels to read TXT) 📗

so much indebted both for their dignity and variety, that he chiefly copies the Grecian. But these are graces to which rhyme is not competent; so broken, it loses all its music; of which any person may convince himself by reading a page only of any of our poets anterior to Denham, Waller, and Dryden. A translator of Homer, therefore, seems directed by Homer himself to the use of blank verse, as to that alone in which he can be rendered with any tolerable representation of his manner in this particular. A remark which I am naturally led to make by a desire to conciliate, if possible, some, who, rather unreasonably partial to rhyme, demand it on all occasions, and seem persuaded that poetry in our language is a vain attempt without it. Verse, that claims to be verse in right of its metre only, they judge to be such rather by courtesy than by kind, on an apprehension that it costs the writer little trouble, that he has only to give his lines their prescribed number of syllables, and so far as the mechanical part is concerned, all is well. Were this true, they would have reason on their side; for the author is certainly best entitled to applause who succeeds against the greatest difficulty, and in verse that calls for the most artificial management in its construction. But the case is not as they suppose. To rhyme, in our language, demands no great exertion of ingenuity, but is always easy to a person exercised in the practice. Witness the multitudes who rhyme, but have no other poetical pretensions. Let it be considered too, how merciful we are apt to be to unclassical and indifferent language for the sake of rhyme, and we shall soon see that the labor lies principally on the other side. Many ornaments of no easy purchase are required to atone for the absence of this single recommendation. It is not sufficient that the lines of blank verse be smooth in themselves, they must also be harmonious in the combination. Whereas the chief concern of the rhymist is to beware that his couplets and his sense be commensurate, lest the regularity of his numbers should be (too frequently at least) interrupted. A trivial difficulty this, compared with those which attend the poet unaccompanied by his bells. He, in order that he may be musical, must exhibit all the variations, as he proceeds, of which ten syllables are susceptible; between the first syllable and the last there is no place at which he must not occasionally pause, and the place of the pause must be perpetually shifted. To effect this variety, his attention must be given, at one and the same time, to the pauses he has already made in the period before him, as well as to that which he is about to make, and to those which shall succeed it. On no lighter terms than these is it possible that blank verse can be written which will not, in the course of a long work, fatigue the ear past all endurance. If it be easier, therefore, to throw five balls into the air and to catch them in succession, than to sport in that manner with one only, then may blank verse be more easily fabricated than rhyme. And if to these labors we add others equally requisite, a style in general more elaborate than rhyme requires, farther removed from the vernacular idiom both in the language xi itself and in the arrangement of it, we shall not long doubt which of these two very different species of verse threatens the composer with most expense of study and contrivance. I feel it unpleasant to appeal to my own experience, but, having no other voucher at hand, am constrained to it. As I affirm, so I have found. I have dealt pretty largely in both kinds, and have frequently written more verses in a day, with tags, than I could ever write without them. To what has been here said (which whether it have been said by others or not, I cannot tell, having never read any modern book on the subject) I shall only add, that to be poetical without rhyme, is an argument of a sound and classical constitution in any language.

A word or two on the subject of the following translation, and I have done.

My chief boast is that I have adhered closely to my original, convinced that every departure from him would be punished with the forfeiture of some grace or beauty for which I could substitute no equivalent. The epithets that would consent to an English form I have preserved as epithets; others that would not, I have melted into the context. There are none, I believe, which I have not translated in one way or other, though the reader will not find them repeated so often as most of them are in Homer, for a reason that need not be mentioned.

Few persons of any consideration are introduced either in the Iliad or Odyssey by their own name only, but their patronymic is given also. To this ceremonial I have generally attended, because it is a circumstance of my author's manner.

Homer never allots less than a whole line to the introduction of a speaker. No, not even when the speech itself is no longer than the line that leads it. A practice to which, since he never departs from it, he must have been determined by some cogent reason. He probably deemed it a formality necessary to the majesty of his narration. In this article, therefore, I have scrupulously adhered to my pattern, considering these introductory lines as heralds in a procession; important persons, because employed to usher in persons more important than themselves.

It has been my point every where to be as little verbose as possible, though; at the same time, my constant determination not to sacrifice my author's full meaning to an affected brevity.

In the affair of style, I have endeavored neither to creep nor to bluster, for no author is so likely to betray his translator into both these faults, as Homer, though himself never guilty of either. I have cautiously avoided all terms of new invention, with an abundance of which, persons of more ingenuity than judgment have not enriched our language, but incumbered it. I have also every where used an unabbreviated fullness of phrase as most suited to the nature of the work, and, above all, have studied perspicuity, not only because verse is good for little that wants it, but because Homer is the most perspicuous of all poets.

In all difficult places I have consulted the best commentators, and where they have differed, or have given, as is often the case, a variety of solutions, I have ever exercised my best judgment, and selected that which appears, at least to myself, the most probable interpretation. On this ground, xii and on account of the fidelity which I have already boasted, I may venture, I believe, to recommend my work as promising some usefulness to young students of the original.

The passages which will be least noticed, and possibly not at all, except by those who shall wish to find me at a fault, are those which have cost me abundantly the most labor. It is difficult to kill a sheep with dignity in a modern language, to flay and to prepare it for the table, detailing every circumstance of the process. Difficult also, without sinking below the level of poetry, to harness mules to a wagon, particularizing every article of their furniture, straps, rings, staples, and even the tying of the knots that kept all together. Homer, who writes always to the eye, with all his sublimity and grandeur, has the minuteness of a Flemish painter.

But in what degree I have succeeded in my version either of these passages, and such as these, or of others more buoyant and above-ground, and especially of the most sublime, is now submitted to the decision of the reader, to whom I am ready enough to confess that I have not at all consulted their approbation, who account nothing grand that is not turgid, or elegant that is not bedizened with metaphor.

I purposely decline all declamation on the merits of Homer, because a translator's praises of his author are liable to a suspicion of dotage, and because it were impossible to improve on those which this author has received already. He has been the wonder of all countries that his works have ever reached, even deified by the greatest names of antiquity, and in some places actually worshipped. And to say truth, were it possible that mere man could entitle himself by pre-eminence of any kind to divine honors, Homer's astonishing powers seem to have given him the best pretensions.

I cannot conclude without due acknowledgments to the best critic in Homer I have ever met with, the learned and ingenious Mr. Fuseli. Unknown as he was to me when I entered on this arduous undertaking (indeed to this moment I have never seen him) he yet voluntarily and generously offered himself as my revisor. To his classical taste and just discernment I have been indebted for the discovery of many blemishes in my own work, and of beauties, which would otherwise have escaped me, in the original. But his necessary avocations would not suffer him to accompany me farther than to the latter books of the Iliad, a circumstance which I fear my readers, as well as myself, will regret with too much reason.[1]

I have obligations likewise to many friends, whose names, were it proper to mention them here, would do me great honor. They have encouraged me by their approbation, have assisted me with valuable books, and have eased me of almost the whole labor of transcribing.

And now I have only to regret that my pleasant work is ended. To the illustrious Greek I owe the smooth and easy flight of many thousand hours. He has been my companion at home and abroad, in the study, in the garden, and in the field; and no measure of success, let my labors succeed as they may, will ever compensate to me the loss of the innocent luxury that I have enjoyed, as a translator of Homer.