It is true that these English versions are often reprinted here; but it is only the chiefs of the army—those who shine pre-eminent among their fellows,
“sicut inter ignes
Luna minores,”
or who are already known to fame for triumphs in other fields. Prof. Conington made something of a critical furor by the bold breaking away from rule and precedent in his choice of a metre, though Dr. Maginn, in his Homeric ballads, had given him the hint. In like manner our booksellers have reprinted and our book-buyers bought Mr. Morris’ Æneid (we beg his pardon—Æneids), not because it was a new translation of Virgil, but because it was a new work of the latest popular poet; just as they printed and bought Mr. Bryant’s Homer because it was the latest work of our oldest living poet, as they printed and bought Lord Derby’s Iliad because it was the work of a nobleman, and not only that, but of a leading European statesman, and therefore, in both aspects, a very surprising and desirable thing for our people, who have never been used to connect that sort of accomplishment with the idea they had formed of a nobleman, still less with their notion of a statesman. But we did not reprint or buy Mr. Worsley’s, or Prof. Newman’s, or Prof. Blackie’s, or Mr. Wright’s Homer; and even if we printed, it is to be feared we did not extensively buy, Mr. Cranch’s Æneid, although in the way of buying English Æneids we might have done worse. Why? Not, certainly, because any of the versions named lacked merit, but because they appealed to us on their merits simply, without any outside helps to popularity, and we would none of them. The fact is, we do not care in the least for Homer or Virgil, and we care a great deal for Morris and Bryant—that is to say, while they are topics of talk; and it is one of the social duties, which persons of culture would die almost sooner than fail in, to have something, or even nothing, to say about the ordained subjects of fashionable gossip.
But in England it is otherwise. There is in that country a large class always to be counted on to buy any translation of a favorite classic which has successfully run the gauntlet of the reviews. This class is made up of diverse elements. First, the translators themselves, who in England form no inconsiderable percentage of the literary public; for every other graduate of either university who has not been a stroke-oar—that is honor enough to win or give—seems to feel within him a sacred void unfilled, a mysterious yearning unsatisfied, a clamorous duty unperformed, until he has translated some classic author in whole or in part. Every translator, of course, buys the publications of every other translator to chuckle over his failures or—let us do them justice—to applaud heartily and generously the happy dexterity which conquers a difficult passage. Then, too, even scholars who have Homer and Horace at their fingers’ ends, who think in Latin and dream in Greek, who dare to take liberties with the digamma and speak disrespectfully of the second aorist—even they to whom the best translation of a classic is as corked claret? or skim-milk—may still buy Prof. Conington’s Æneid or Lord Lytton’s Horace for a better reason than the pleasure of finding fault with it. They know, none better, that, as the former puts it, a translation by a competent hand is itself an “embodied criticism” and commentary; and even scholars, after twenty centuries or so of criticism and commentary, and even of mutual vituperation, have not yet quite made up their minds as to the meaning, or at least the shades of meaning, straight through of any poet of antiquity. This is not to say that we have not here, too, scholars who might buy a translation for the same reason; but in neither country, perhaps, are there so many as to be much of a stand-by in themselves.
But the mainstay of the English translator is that sort of fashionable sentiment in favor of classical learning necessarily fostered in a country where the university is a working element and influence in political, social, and literary life. This sentiment is not so powerful or wide-spread as it once was; as it was, let us say, when a couplet made Mr. Addison a secretary of state, or a burlesque made Mr. Montague a minister and Mr. Prior an ambassador—an improvement still on the age when Sir Christopher Hatton danced himself into the chancellorship. But it is still powerful; and the university is still such a force in English life as it never has been, as it probably never will be, here. The Oxford and Cambridge debating clubs used to be regularly looked to, and are still, perhaps, now and again beaten up, by experienced huntsmen for embryo statesmen, much as the metropolitan manager will scour the provincial stage for an undiscovered star. University men edit the leading organs of public opinion; university men fill the desks in Downing Street and the Parliamentary benches in Westminster Hall; university men yawn day after day in the club-windows of Pall Mall, and night after night in the dancing and supper rooms of Belgravia—no, not the supper-rooms; that is, perhaps, the one spot of the fashionable world where young England forgets to yawn. Like enough, the learning of many of these sages is no deeper than the lore of our own pundits from Yale and Harvard; and not a few of them, no doubt, would be far more at home criticising the boat-race in the Fifth Æneid (the contestants in which they would probably characterize, in their delightful idiom, as “duffers”) than construing the Latin it is told in. Such is the proud result of modern university education in a free and enlightened Anglo-Saxon community. Nevertheless, though the university may not actually give learning, it creates a sentiment in favor of learning; it develops almost unconsciously a taste for it. One may say that it is next to impossible for any man to go through college without taking in some sense of classical culture—through the pores, as it were—which shall ever after give him a feeling of companionship, a kind of Freemasonry, with authors he could never read. To have lived among books, in an atmosphere of books, is itself in some sort an education.
Now, with this feeling for learning diffused throughout a great nation, showing itself in its chief organs of public opinion, in its selection of public officers, and even to some extent in its popular elections, and centring above all in a great city, the headquarters of all the social, political, and literary activity of the nation—its book-making, book-branding, book-buying centre—we come to see why translations from the classics should have more vogue across the water than with us. If a cabinet minister choose to beguile his leisure by turning Aristophanes into English, it is but fit that society, before having him in to dinner, should know something about it, if only to avoid such a slip as is told of Catalani. The prima donna was seated, as a great compliment, next to Goethe at a state dinner, but not knowing the divine Wolfgang—or, indeed, much of anything but some operatic scores—gave her mind to the potage rather than to the poet. A friend nudged her: “Why do you not talk to M. Goethe?” “I don’t know him, and he’s stupid.” “What! not know M. Goethe, the celebrated author of the Sorrows of Werther?” “The Sorrows of Werther! Ah! M. Goethe,” cried the diva with empressement, turning to the great man, “how can I ever thank you enough for your charming Sorrows of Werther! I never laughed so much at anything in my life.” She had seen a parody of that immortal work in a farce at Paris. Here, when our cabinet minister lets loose his intellectual surplus on exposures of Popery, society runs no great risk. Everybody can talk a little Popery—an easier subject, on the whole, to talk or write about than Aristophanes; and one knows pretty well what our cabinet minister’s book is about without the fatigue of failing to read it.
Of the feeling we have mentioned the taste for quotation in Parliamentary debate is a good test. An apt illustration from Horace or Virgil had at one time almost the force of an argument. “Pitt,” says the late Lord Lytton, in the excellent preface to his unrhymed version of Horace’s Odes, “is said never to have more carried away the applause of the House of Commons than when, likening England—then engaged in a war tasking all her resources—to that image of Rome which Horace has placed in the mouth of Hannibal, he exclaimed:
“'Duris ut ilex tonsa bipennibus
Nigræ feraci frondis in Algido,