A Year with the Birds / Third Edition, Enlarged

by W. Warde Fowler

Here were all the sea-birds, and the wild-fowl that haunt the sea; here, as we shall see, the summer visitors might land on their way from Africa. Here, from the sea and all its varying life, the poet’s mind would enrich itself with sights unknown to him in the flat-lands of the Padus, and grow to understand more fully day by day the impressions—often dull ones—which Nature had made on the poets who had sung before him. Rome he never loved, though he had a house there: perhaps he had seen enough of the huge city during the years given to the dreary rhetorical education of the day, after first leaving his home. He loved Campania, and he loved Sicily[51]; at Tarentum also he is found, probably visiting the friendly and jovial Horace. The hill-country of the peninsula, and of the island that belongs to it, became a part of his poetical soul; and as he probably spent much of his time at his own Cisalpine farm, after he was restored to it by his patron’s kindly influence, he must have been constantly moving among all the phases of Italian landscape—in the plain, on the hills, by the sea.

Everything, then, in Virgil’s history, shows him a genuine poet of the country, and at the same time no one who really knows his poems can deny that they fully bear out the evidence of his life. It is true that he drew very largely on other poets, and could not “disengage himself from the antecedents of his art.” From Homer, Hesiod, Aratus, or Theocritus, for example, come nearly all the passages in his works in which birds are mentioned. But though they descend from these poets, and bear the features of their ancestors, they are yet a new and living generation, not lifeless copies modelled by a mere imitator; and their beauty and their truth is not that of Greek, but of Italian poetry. Let any one compare the translations of Aratus by other Roman hands, by Cicero, Festus, and Germanicus, with Virgil’s first Georgic, and he will not fail to mark the difference between the mere translator and the poet who breathes into the work of his predecessors a new life and an immortal one. There is hardly to be found, in the whole of Virgil’s poems, a single allusion to the habits of birds or any other animals which is untrue to fact as we know it from Italian naturalists. Here and there, of course, there are delusions which were the common property of the age. If, for example, he tells us in the fourth Georgic that bees

oft weigh up tiny stones

As light craft ballast in the tossing tide,

Wherewith they poise them through the cloudy vast:

let us remember that the true history of bees has been matter of quite recent discovery. And we may note at the same time that Pliny, a professed naturalist, living at least a generation after Virgil, has actually asserted that cranes, when flying against the wind, will take up stones with their feet, and stuff their long throats full of gravel, which they discharge when they alight safely on the ground![52]

Virgil mentions about twenty kinds of birds, most of them several times. These twenty kinds do not correspond so much to our species as to our genera; for the Greeks and Romans, I need hardly say, had only very rough-and-ready methods of classification, just as is the case with uneducated people at the present day. When they found birds tolerably like each other, they readily put them down as of the same kind, rarely marking minor differences. Thus corvus appears to stand for both crow and rook; picus stands for all the woodpeckers inhabiting Italy; by accipiter may be understood any kind of hawk. But in spite of this difficulty, it is sometimes possible to make out the particular species which is alluded to, partly by getting information as to those which are found in Italy at the present day, partly by comparing Virgil with Pliny and other Roman writers, and where Virgil is using a Greek original, by trying to discover, chiefly through Aristotle’s admirable book on natural history, what bird is indicated by the Greek word translated, and whether that bird is an Italian bird as well as Greek, and therefore likely to be known to Virgil at first hand.

I am not going to trouble my readers with much of the uninteresting detail of an inquiry like this (in which indeed the game might seem to be hardly worth the candle), but merely to give them some idea of the bird-knowledge on which this greatest of Roman poets drew, whether at first or second-hand, for description or illustration; and in so doing to make clear to them, so far as I can, the particular kinds of birds which he had in his mind. I shall quote him in the original, but shall add translations in footnotes: in the Georgics, his poem of husbandry, I take advantage of a poet’s translation, that of my friend Mr. James Rhoades, which cannot easily be outdone either in exactness of scholarship or in beauty of diction; and in the Aeneid I make use of Mr. Mackail’s prose translation, which I prefer on the whole to any poetical version I know. One passage from the Eclogues I have translated myself.

The first birds we find mentioned in the poems are the Pigeons, and we may as well begin with them as with any other. Meliboeus tells Tityrus that the farm to which he is returned after a long exile—the same farm which the poet himself lost and found again—shall yield him much true comfort and delight, even though he find it overgrown with reeds, and spoilt with the stones and mud of overflowing Mincius:—

Nec tamen interea raucae, tua cura, palumbes,