Because, we answer, not only is Virgil’s tone—his coloring, his local atmosphere-conspicuously absent from Mr. Morris’ translation, not only is the tone of the latter as unlike the tone of the Æneid as can well be, but it is even carefully, studiously, nay, laboriously, removed from it. It may be taken as a rule in translation that any word is out of place which violently disturbs the associations that belong to the original, the train of ideas raised by the original in the reader’s mind. For instance, when Mr. Theodore Martin makes use of the word “madrigal” in his translation of the Carmen Amœbæum of Horace, we somehow feel that he has struck a false note; we are sensible of a discord. The word to the English reader brings up associations wholly foreign to Horace and his time, turns the thoughts of the English reader into a widely different track, and dispels the Horatian effect. Mr. Morris not only does this in single words, but his very design is based on doing it as often as he can; his entire vocabulary is carefully selected with a view to doing it uniformly throughout his work. From the stately towers of Ilium, city of the gods, the arces Pergameæ and incluta bello mœnia Dardanidum; from the splendid temples of Carthage; from the fertile plains of Hesperia, the royal city of Laurentum, and the mighty hundred-pillared palace of Picus; from the Ausonian battle-fields, ringing with the clatter of chariots, the clang of sword on helm and spear on buckler, the shouts and shocks of the contending heroes—from all the scenes and characters so familiar to us in the Virgilian story, Mr. Morris ushers us into a strange, remote, wild Westland, where all the famous doings we thought we knew so well are transformed in the most grotesque fashion. It is a land of “steads” and “firths,” of “meres” and “leas” and “fells,” he takes us into, inhabited not by a people but by “a folk,” who are not named but “hight”; who dwell in “garths” and “burgs” and worship “very godheads” in “fanes”; who never by any chance go anywhere, but either “wend” or “fare” when they are not engaged in “flitting”—a mysterious kind of locomotion which they sometimes achieve by means of “wains”—and who hold converse among themselves not in words but in “speech-lore,” which they at times condescend to speak, but very much prefer, when the rhyme will give them the ghost of a chance, “to waft” through “tooth-hedge” (ore locutus). In this mysterious region are neither times nor numbers, but only “tales” and “tides”; what would be mere tillers of the soil (agricolæ) in Virgil are here become “acre-biders” or “field-folk,” who for cattle have “merry, wholesome herds of neat” (læta boum armenta), and for horses “war-threatening herd-beasts.” Here things are rarely carried, but, like the “speech-lore” above spoken of, are “wafted” whenever humanly possible, and are never done or made when they can by any means be “dight.” Here we are puzzled to recognize our old friends, the Muses, under the disguise of “Song-maids”; we fairly cut those amiable sisters, the Furies, when they are introduced to us as the “Well-willers”; and of the heroes who roar and ruffle so gallantly through the battlefields of the Æneid we have scarcely a glimpse, but instead a “tale” of “lads of war,” “begirded” with “war-gear” and led by “Dukes of man,” who are for ever falling on and smiting or being smitten by a “sort of fellows” dight in “war-weeds,” who fare around in “war-wains” and “deal out iron-bane” (dant funera ferro) with “shot-spears” or “weapon-smiths” and “wound-smiths” instead of simple javelins and swords. Following Mr. Morris’ lead, in short, we find ourselves in a land where Virgil would be as much at home as he would in Asgard or Valhalla, or as the hero Beowulf might be in Elysium. It is a pleasant land enough in its way, and the folk are entertaining folk, but we feel that we have left the Æneid behind us.
It is far from our wish or aim to set Mr. Morris’ work in an unworthy or ridiculous light. Our respect for him is too great, our admiration too sincere, to treat any performance of his lightly. But some such impression as that we have given above is the chief one left on our mind by reading his Æneids. We are no longer in Italy but in Norseland, or, if in Italy, an Italy after the Gothic irruption; Æneas and Turnus, Pallas and Lausus, fortisque Gygas fortisque Cloanthus, are no longer Trojans or Rutules, but Norse jarls and vikings. They bear their Latin names, but that is all that is Latin about them: the hand is the hand of Esau, but the voice is the voice of Jacob. What associations connect themselves in the mind of the English reader with such words as “garth” and “burg” and “firth”? Are they not as unlike as possible to any that belong to Virgil? Do they not disturb and trouble, even totally obscure, the effect the English reader habitually derives from Virgil—these incongruous words dropped into the clear current of the poet’s manner—as a stone flung into a limpid pool may trouble and obscure it? What is there in common between Morris’ “lads of war in vain beleaguered” and Virgil’s nequidquam obsessa juventus?—between Morris’ “very Duke of man” and Virgil’s ipsis ductoribus? (v. 249). What impression is the English reader apt to get from phrases like “flitting by in wain”? It is certainly not that of a hero rushing to battle, but, if any—and we are not sure that upon our own mind any very tangible impression is left at all—rather of a bucolic ghost disappearing somewhere in a spectral hay-cart. To say Carthage is to be “Lady of all lands” is surely to produce an utterly different effect from that of dea gentibus esse (i. 17); and they must have shrewder eyes than ours who can find in such lines as
“Lo! what was there to heave aloft in fashioning of Rome,”
or
“Those fed on good hap all things may because they deem they may,”
anything more than the shell of Virgil’s
“Tantæ molis erat Romanam condere gentem”
or,
“Hos successus alit; possunt quia posse videntur,”
where the pretence of verbal fidelity only makes the verbal affectation more annoyingly weak. These ever-recurring eccentricities of phrase tease the reader and spoil half his enjoyment. In a translator whose daily speech was of “trowing” instead of “trusting,” of “tale” for number or “sort” for company, of “wending” and “wafting,” and “folk” in the singular, and who used “very” rather profusely, and on slight provocation, as an adjective, and “feared” and “learned” as transitive verbs, and agreed with some modern great men in thinking grammar generally a bore, such lines as