It is too bad that the Aeneid, as a whole, is not better known in America. The general practice in our secondary schools has come to be that of reading Books I, II, IV, and VI, and that’s all. This seems to me a peculiar way to deal with a work of art, like looking at selected portions of the Venus of Milo. I do not see how any intelligent American boys or girls can go this slowly, unless they stop to scan every line, note every example of synecdoche or synizesis, and parse all the grammatical constructions, with special attention to the poetical dative of agent and the Greek middle voice accusative of respect. And where the impression grew that the last six books are inferior in interest to the first I do not understand. Virgil, for one, did not think so. Maius opus moveo.

It is a peculiar, paradoxical kind of great poem, this Aeneid. For us, I think, its greatness can be found in ways that may have had less appeal to the Roman mind. Its references may mean less, its music more. Not only the music of the lines, but the music of the whole: this is a composition, and the pleasure comes in listening to it as one would to a great symphony (and not too much attention, please, to the program notes). This is a composition, the Aeneid, beautifully wrought, beautifully balanced. Professor Conway has written an illuminating essay dealing with the poem in terms of its architecture; in detail, his analysis is excellent, but the central metaphor is a little unhappy if it leads you to envisage the Aeneid as an impressive pile, frozen and static. The poem moves, in more senses than one: the thing to do is to feel it and listen to it. Hear how the themes vary and recur; how the tone lightens and darkens, the volume swells or dies, the tempo rushes or lingers. Take in the poem with the mind, to be sure; take it in with the eye as well; but above all, hearken to it with the ear.

This translation is a quick and unscrupulous job. I am not being modest: a modest man would never have started, and a scrupulous one never finished. I have, nevertheless, been not entirely without principles. I have been trying to translate the poem, rather than transliterate its words. In doing so, I have transposed lines, cut some proper names and allusions where I thought they would excessively slow down reader interest, substituted the general for the specific or the specific for the general, and in short taken all kinds of liberties, such as no pure scholar could possibly approve. But I doubt if there is any such thing as an absolutely pure scholar, anyhow. A loose iambic pentameter has seemed to me the most convenient medium, though in some passages, where the tempo runs faster, you might not recognize it; and I have, by no means faithfully following Virgil, occasionally used his device of the half-line. I have preferred solecisms to archaisms: thus I have never used the second person singular pronoun. I know I have committed anachronisms, but, then, I know Virgil did too, and I have, in my opinion heroically, resisted one or two obvious temptations in this regard. What I have tried to be faithful to is the meaning of the poem as I understand it, to make it sound to you, wherever I can, the way it feels to me. Working on it, I have been impressed, more than ever through the thirty-odd years I have read it, by its richness and variety: to mention only one point, the famous Virgilian melancholy, the tone of Sunt lacrimae rerum, is, I begin to notice, a recurring, not a sustained, theme. There is much more rugged and rough, harsh and bitter, music in Virgil than you might suspect if you have only read about him. A recent essay by Mark Van Doren has given me considerable heart in offering this new translation: there is a kind of scholastic snobbishness, he points out, in the insistence that no man knows anything who has not read the classics in the original. It is better, no doubt, to read Virgil in his own Latin, but still—I hope some people may have some pleasure of him, some idea of how good he was, through this English arrangement.

Rolfe Humphries

New York City,
January, 1951

CONTENTS

[BOOK I]
The Landing near Carthage[3]
[BOOK II]
The Fall of Troy[31]
[BOOK III]
The Wanderings of Aeneas[61]
[BOOK IV]
Aeneas and Dido[87]
[BOOK V]
The Funeral Games for Anchises[113]
[BOOK VI]
The Lower World[143]
[BOOK VII]
Italy: the Outbreak of War[177]
[BOOK VIII]
Aeneas at the Site of Rome[207]
[BOOK IX]
In the Absence of Aeneas[233]
[BOOK X]
Arms and the Man[263]
[BOOK XI]
The Despair of the Latins[299]
[BOOK XII]
The Final Combat[335]
[Appendix][371]