To crystallize the Baltic Ocean,
To glaze the lake, to bridle up the floods,
And periwig with snow the bald-pate woods.”
The conceited style then in vogue was not well fitted to do justice to Horace’s simplex munditiis, although he was now universally read and esteemed—“The next best poet in the world to Virgil,” Cowley calls him—and has left the mark of his genial influence on all the writers of the time. One finds the Horatian sentiment running like a golden thread through the minor poetry of James and Charles I., at times informing whole poems with a pithiness of phrase and a dignity which Horace might call his own. Such are Marvell’s ode on The Return of Cromwell, such Shirley’s “The glories of our blood and state” and “Victorious men of earth, no more”—all three among the finest productions of their kind in the language.
After the Restoration the business of translation was resumed with vigor. Dryden in his Virgil, and, somewhat later, Pope in his Homer, set a fresh model which was followed by all their successors until Cowper’s Miltonic Iliad came to break the spell and pave the way to the modern style, which aims to combine freedom with fidelity, ease of manner with correctness of meaning, and so far as possible to reproduce the author himself, form as well as matter. Creech’s Horace was hardly a success, being stiff and ungainly without being particularly close, and, while showing in its metre some sense of the poet’s rhythmical grace, scarcely attempted to render the characteristic delicacy of his wording—that curiosa felicitas we all have heard of. In this—and indeed in every—respect the version of Dr. Francis, which came out about half a century later, was greatly superior as a whole to any previous one, and took with Horatians a position the best of its successors has found it hard to shake. Indeed, with such of the poet’s lovers as date from the golden age of Consul Plancus, Francis is still the paramount favorite, and you will talk to them in vain of the merits of Robinson or Lytton, of Conington’s fluent ease or Martin’s sprightly grace. Francis is in the main faithful, generally pleasing, and always respectable at least, but, like most of his rivals, he lacks a certain lightness of touch, an airy gayety of treatment in the minor odes which no one, we think, has hit off so well as Mr. Theodore Martin. They are, as that accomplished writer says, in many instances what would be called now vers de société, and their chief value rests in the poet’s inimitable charm of manner. Unless some notion of this can be given, the translator’s labor is lost, and he offers his readers but a withered posy from which color and perfume alike are fled.
ALBA’S DREAM.
BY THE AUTHOR OF “ARE YOU MY WIFE?” “A SALON IN PARIS BEFORE THE WAR,” ETC.
PART III.
Gondriac had seen many strange things come to pass of late years: stupendous things, as when M. le Marquis climbed up the cliff like a common man to condole with old Caboff; wonderful things, as when M. le Marquis was rescued by old Caboff in the storm; tragic things, as when he went forth and died in the place of young Caboff; but nothing so untoward as this had ever happened at Gondriac before: M. le Marquis was going to marry Alba. The wonder was both lessened and heightened by the romantic story concerning Alba’s birth, which was spread through the village simultaneously with the announcement. The fatherless girl, who had owned no name but Alba, was the daughter of a nobleman, who had been affianced by his family to a great heiress, but who fell in love with a penniless orphan and married her secretly; a few months after his marriage he was ordered off to Egypt with Bonaparte and was killed in his first engagement. The young wife lived to give birth to her child, and then died, leaving it to the care of an old friend of her mother, a childless widow, whom the Revolution had ruined, and who now gained her bread by needlework. Virginie accepted the charge, and adopted as her own the little one, whose sole provision was a pittance which the father had been able to secure to his wife as a dower. Her heart, hungering for some one on whom to lavish its great capacity for loving, bestowed upon the baby more than a mother’s tenderness; she loved it with a love that seemed to gather up into one passion all the loves that a woman’s heart can hold. She left the shelter of her native place, where all had known her from her childhood, and where, in spite of her poverty, she held her head high, and went to live at Gondriac, where no old familiar face would smile upon her, but where her secret would be secure, and none would know that she was not Alba’s mother. This was the story she told Hermann when he asked her for Alba’s hand.
“I thought to let the secret die with me,” she said, “and that the child might have loved me to the end as her own mother; but now she must hear the truth. To me she will always be my child, my very own—as truly mine as if I had given her birth.”
“Let her know nothing until she is my wife, and then I will break it to her,” replied the young lord; “and I doubt but she will love you more dearly still when she learns the truth.”
Alba was very happy—so happy at times that it was more than she could bear; she would often heave great sighs for very bliss as she sat upon the rocks, her hand clasped in Hermann’s.