To the thoughtful artist, Schlegel could suggest nothing more useful than the study of casts from the antique. A faithful version of the Iliad opens whole galleries of casts. The sculptor Bouchardon, we are told, was discovered reading Homer in a translation, and that a sorry one. “Ah, monsieur!” he exclaimed, “depuis que j’ai lu ce livre, il me semble que les hommes ont quinze pieds de haut.”[88] We know what Keats beheld upon looking into Chapman’s Homer, and we know that the quarry from which he hewed Hyperion is not yet exhausted. Of the thousands who will now listen for the first time to the story of Achilles, it may well be that some will kindle at what they hear. They will know how to thank Mr. Bryant that those flames which blazed over Troy, leaping from headland to headland, have once more borne a message across the sea.
Since the beginning of the seventeenth century, repeated attempts have been made to translate the master-poems of the Greek and Latin literatures into English verse. We suppose it will be acknowledged that those attempts have for the most part failed. The truth is that translation as commonly practised in England cannot properly be called an art. There are no fundamental principles universally recognized as the conditions of its development. It is still hardly more than a trick, in which one succeeds better than another, but each proceeds upon a method of his own. Who has prefaced his work with such a definition of translation as criticism can admit to be exhaustive and final? We might have expected so much from Hobbes. We do not find it. Dryden’s cardinal idea, that translation is “a kind of drawing after the life,” has never been literally accepted by others. It did not uniformly govern himself. The face seen and the face drawn both appeal to the brain through the eye, whereas even those English translators who aim to infuse the identical thought, feeling, or fancy of their original have recourse to media of sensual metaphor, sometimes modified, sometimes distinct from those employed in their author’s language. On Sir George Cornewall Lewis’ view of translation we will not dwell, because we are not sure that we understand it, and at least cannot conceive the practical application of it. It is enough for us that he heartily commended as an instance of right treatment Hookham Frere’s Aristophanes, which is clever, fresh, and racy enough, but certainly not Attic. There is another theory, that we should ask ourselves what our author would have said had he been writing in English. One objection to this is, as Mr. Newman remarks, that no two men would agree in their answers to such a question. Homer, if an Englishman and writing in our tongue, would unquestionably have given a different turn and tinge to his verse from that which it takes in Greek. But are we not bound to make the province of translation, as discriminated from paraphrase, the reproduction of what an author did actually say? Certainly the aim of Homeric translators into our tongue should be, not of course to compass the effect produced upon an Athenian reading Homer in the age of Peisistratos or upon a consummate scholar capable, we will say, of thinking in Ionic Greek, but to make upon Englishmen or Americans of average culture an impression nearly identical with that which they derive from the Iliad itself. Achieve this, and they who are themselves not scholars will at least be assured that they are reading Homer, not Sotheby or Pope. Such an aim does not seem too ambitious, but it has never been attained, rarely approached, in English. A radical error runs through all our metrical versions of the classic poets. Literal accuracy is by some repudiated, attempted by others, and occasionally secured in detached passages, but is always subordinate to the attainment of harmonious numbers and agreeable diction. Whenever literal accuracy seems likely to conflict with these, it is sacrificed. Now, if it be true that such sacrifice is frequently inevitable, then a genuine translation of the Iliad is an impossibility. But this we are reluctant to admit. The matchless version of Voss has proved that it is possible to be at once literal and musical, to preserve in one Germanic language at least as much of the Homeric flavor as Germans of average culture can detect in the original. Perhaps one clue to his success is to be found in his employment of the hexameter. A profound artist, he could not fail to recognize the inextricable connection of rhythm and cæsura with the shape and play of thought. He saw that in some subtle sort the metre is the poem. We have not abandoned the hope of seeing the hexameter one day naturalized in English. Mr. Kingsley’s Andromeda showed a marked improvement on Evangeline, and what the Laureate might do in this way is sufficiently clear from his Ode to Milton, where he has grappled successfully with alcaics, undoubtedly the most intricate and difficult of dactylic measures. The distinction between quantitative and accentual metres has been pressed too far by men who have wanted patience to cope with those peculiarities which render our language somewhat intractable to dactylic verse.
Almost every familiar scheme of English metre has been applied to the reproduction of Homer. We have had Chapman’s fourteen-syllable line, the rhymed couplet of Pope and Sotheby, the unrhymed iambics of Cowper, Mr. Worsley’s Spenserian stanza, the ballad movement in seven beats of Mr. Newman, and many more. One or two of these are noble English poems, but as translations none can be compared with the work of Voss. We should have said, before the appearance of Mr. Bryant’s volumes, that a new version of the Iliad executed upon one of the old plans and in one of the old metres was not called for. The attempt of Lord Derby to vie with Cowper in blank-verse had proved singularly unfortunate. Failing to accredit the scholar, its publication belittled the statesman. It is not with such a performance that the conservative party can match Mr. Gladstone’s Homeric Age. We should not highly commend Mr. Bryant were we to say that he is every-way more successful than Lord Derby. He has, in our judgment, surpassed Cowper, and that was no easy task. The associations, indeed, connected with what is known as blank-verse, render it to an English ear somewhat unsuitable to a poem like the Iliad, which presents an infinite variety of incidents and situations quite as often trivial as dignified. Still, Cowper, although his muse, stooping to certain homely details, discovers a sort of prudishness which is highly amusing, is generally vigorous and noble where energy and majesty are required, and had hitherto been the least unsatisfactory of Homer’s English translators. In examining Mr. Bryant’s work we shall mainly confine ourselves—so far as English writers are concerned—to a collation of Cowper and Lord Derby. We have neither space nor inclination to quote from the rhymed versions. Faithfully to reproduce Homer in rhyme was declared by Pope to be impossible, and Mr. Worsley’s Odyssey, delightful as it is, has not availed to set aside the judgment.
It would be easy to misinterpret the views which have governed Mr. Bryant’s work by his application of Latin names to the Homeric deities, and the reason which he assigns in the preface for this practice. It is true that he is countenanced by Lord Derby, but we think we had a right to expect more from his scholarship. We cannot but deem them both in the wrong, and to our mind the error is serious and far-reaching. The denizens of Homer’s Olympus are in the strictest sense personal gods. Such superhuman attributes as they severally possess are sharply defined, the degree and scope of their authority, except, perhaps, in two instances, clearly marked. They live the life of men, eat, drink, love, quarrel. They exhibit the most passionate interest in the war which rages before Ilium. They are bitter and unscrupulous partisans, wheedle, lie, bargain, rebel, in the cause of their protégées. They forsake their dwellings to take part in the debates of mortals, mix in the fight, are pierced with spears, and the celestial ichor flows precisely like human blood. In short, they resemble rather the demigods of a later mythology, and are rarely invested with that awful sublimity and mystery which enshroud most of the elder Roman divinities. Even in the Theogony of Hesiod, the attributes of certain gods have undergone a degree of alteration which it is tax enough to bear in mind. To insist upon confounding Ares, Aphroditê, and Athenê with Mars, Venus, and Minerva, deities which, as enshrined in the literature purely and distinctively Latin, are as native and peculiar to Rome as her language, is to mystify the reader who knows anything of either. It appears to us as unreasonable to rename the gods as to miscall the heroes of the Iliad. Surely it is no apology for the confusion of things essentially distinct that the practice has been in some sort naturalized in our literature. So are the legendary chronicles of the kings of Rome, so are the distorted portraits of Shakespeare’s histories. A manifest error cannot plead undisturbed possession. Moreover, it is now many years since English scholars have labored to educate their countrymen up to something like discrimination between the Greek and Latin mythologies. Their task is well-nigh done. Lemprière’s Dictionary is at length obsolete, and the volumes of Grote are in the hands of every schoolboy. If the prevailing excellence of Mr. Bryant’s work had not disarmed us, we should be disposed to protest against the repetition of an error, as well as against the presumption of national ignorance, by which it is excused. It is certainly matter of regret that such an objection should lie on the threshold of a work in most respects so sound and scholarlike.
The new version begins well:
“O Goddess! sing the wrath of Peleus’ son
Achilles; sing the deadly wrath that brought
Woes numberless upon the Greeks and swept
To Hades many a valiant soul, and gave
Their limbs a prey to dogs and birds of air.
For so had Jove appointed, from the time
When the two chiefs—Atrides, King of men,
And great Achilles—parted first as foes.”
Seven hexameters in eight lines of blank-verse—certainly a remarkable instance of compression. Except ἡρωων, πασι (almost an expletive), and προ in προιαψεν (which, perhaps, is faintly suggested by “swept”), not a word of Homer is omitted, not a word is added. “Birds of air” is an accurate translation of οἰωνοισι. “Parted first as foes” is exceedingly close. There is but one error, διος is rendered “great.” To this word no moral attribute whatever is attached in the Homeric poems. It is equivalent to “high-born” or “noble” (as Cowper gives it) in the primitive sense of that word. Lord Derby makes it “godlike,” which is quite incorrect. If there be a fault in the lines just quoted, it is a certain coldness. They hardly lift us to the height of the great argument. But for conscientious fidelity to the original, these lines have not been approached in English, and are in this respect fully equal to Voss. Hear, for instance, Cowper, who requires an extra line:
“Achilles sing, O Goddess, Peleus’ son,
His wrath pernicious, who ten thousand woes
Caused to Achaia’s host, sent many a soul
Illustrious into Ades premature,
And heroes gave (so stood the will of Jove)
To dogs and to all ravening birds a prey.
When fierce dispute had separated once
The noble chief Achilles from the son
Of Atreus, Agamemnon, King of men.”
This is pitched in the right key, although the finest line, the fourth, is perhaps too suggestively Miltonic. In his scholarship Cowper is loose. “Who” is grammatically wrong and æsthetically a blunder. It is not Achilles, but Achilles’ wrath that Homer means to sing. “Host,” “ravening,” “fierce,” “chief,” “Agamemnon,” are merely supernumeraries. “Illustrious” was inserted, we presume, for rhythmical reasons; it does not translate ἰφθιμους. “Stood” for ἐτελειετο is fine; Mr. Bryant fails to convey the notion of fulfilment, of inevitable accomplishment, which the word seems to carry. The antithesis between ψυχὰς and αὐτους, significant as regards the Homeric theory of a future life, is quite lost in Cowper, while it is cleverly projected in Mr. Bryant’s lines. “Premature” preserves the force of the preposition in προ-ιαψεν, which ought not to be overlooked.
It may be well now to quote Lord Derby. He needs ten lines: