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diff --git a/59887-0.txt b/59887-0.txt index 2ebaa03..ded2730 100644 --- a/59887-0.txt +++ b/59887-0.txt @@ -1,29 +1,7 @@ -The Project Gutenberg EBook of Virgil, by William Lucas Collins +*** START OF THE PROJECT GUTENBERG EBOOK 59887 *** -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license -Title: Virgil - -Author: William Lucas Collins - -Release Date: July 11, 2019 [EBook #59887] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK VIRGIL *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) @@ -5417,365 +5395,4 @@ delayed him so improperly from Lavinia and his kingdom:-- End of the Project Gutenberg EBook of Virgil, by William Lucas Collins -*** END OF THIS PROJECT GUTENBERG EBOOK VIRGIL *** - -***** This file should be named 59887-0.txt or 59887-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/9/8/8/59887/ - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Virgil - -Author: William Lucas Collins - -Release Date: July 11, 2019 [EBook #59887] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK VIRGIL *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - - - - - -</pre> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 59887 ***</div> <hr class="full" /> @@ -5629,731 +5595,7 @@ tame vicious bees,” it is hard to say what a master of beecraft can are: </p> -<pre> - Tros. - | - +————————————+———————————+ - Ilus. Assaracus. - | | -Laomedon. Capys. - | | - Priam. Anchises. - | - Æneas. -</pre> - -</div> - -<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> Iliad, xx. 306.</p></div> - -<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> The extracts are in all cases (where not otherwise marked) -from Mr Conington’s translation, and are made with the permission of his -representatives and publishers.</p></div> - -<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> Milton has translated the line almost literally:— -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“In heavenly spirits could such perversion dwell?”<br /></span> -<span class="i9">—Par. Lost, vi.<br /></span> -</div></div> -</div></div> - -<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> Dante in his Inferno punishes Sinon with an eternal -sweating-sickness: a singular penalty, which is shared only by -Potiphar’s wife.—Inf. xxx.</p></div> - -<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Nay, the “crests” spoken of seem to have been (as reported -of the modern sea-serpent) of actual hair; since Pindar, as Conington -has noted, calls them “manes.”</p></div> - -<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> The French word “<i>feu</i>,” used of a person deceased, is -probably from this Latin use of “<i>fui</i>.”</p></div> - -<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> For this reason, says Macrobius, the real name of Rome and -of its guardian deity was always kept a secret.</p></div> - -<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Horrible as the legend is, Spenser thought it worth -adopting. The Red-Cross Knight, to make a garland for Fidessa, tears -branches from the tree that had once been Fradubio.—’Faery Queen,’ I. -ii. 30.</p></div> - -<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> The story of Idomeneus, according to the old annotators -upon Virgil, has a curious similarity to that of Jephthah. He had vowed -that if he escaped from a storm at sea, he would offer in sacrifice the -first thing that met him on landing. It was his son. A plague followed, -and his subjects expelled him.</p></div> - -<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> There is a fine description of these hags in Morris’s -‘Jason,’ where the voyagers -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Beheld the daughters of the Earth and Sea,<br /></span> -<span class="i1">The dreadful Snatchers, who like women were<br /></span> -<span class="i1">Down to the breast, with scanty close black hair<br /></span> -<span class="i1">About their heads, and dim eyes ringed with red,<br /></span> -<span class="i1">And bestial mouths set round with lips of lead.<br /></span> -<span class="i1">But from their gnarled necks there ’gan to spring<br /></span> -<span class="i1">Half hair, half feathers, and a sweeping wing<br /></span> -<span class="i1">Grew out instead of arm on either side,<br /></span> -<span class="i1">And thick plumes underneath the breast did hide<br /></span> -<span class="i1">The place where joined the fearful natures twain.<br /></span> -</div></div> -</div></div> - -<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> See Homer’s Odyssey, p. 69.</p></div> - -<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“To the which place a poor sequestered stag,<br /></span> -<span class="i1">That from the hunter’s aim had ta’en a hurt,<br /></span> -<span class="i1">Had come to languish.”<br /></span> -<span class="i4">—<span class="smcap">Shakespeare</span>, ‘As you Like it,’ ii. 1.<br /></span> -</div></div> -</div></div> - -<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> This was the dye procured from the shell-fish called -murex—especially costly, because each fish contained but a single drop -of the precious tincture.</p></div> - -<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> Delille’s fine translation of this passage is so little -known to English readers that it may well find room in a note:— -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Non—tu n’es point le fils de la mère d’Amour;<br /></span> -<span class="i1">Au sang de Dardanus tu ne dois point le jour;<br /></span> -<span class="i1">N’impute point aux dieux la naissance d’un traitre—<br /></span> -<span class="i1">Non, du sang d’héros un monstre n’a pu naître;<br /></span> -<span class="i1">Non.—Le Caucase affreux, t’engendrant en fureur,<br /></span> -<span class="i1">De ses plus durs rochers fit ton barbare cœur,<br /></span> -<span class="i1">Et du tigre inhumain la compagne sauvage,<br /></span> -<span class="i1">Cruel! avec son lait t’a fait sucer sa rage.<br /></span> -<span class="i1">Car enfin qui m’arrête? Après ses durs refus,<br /></span> -<span class="i1">Après tant de mépris, qu’attendrais-je de plus?<br /></span> -<span class="i1">S’est-il laissé flechir à mes cris douloureux?<br /></span> -<span class="i1">A-t-il au moins daigné tourner vers moi les yeux<br /></span> -<span class="i1">Prosternée a ses pieds, plaintive, suppliante,<br /></span> -<span class="i1">N’a-t-il pas d’un front calme ecouté son amante?<br /></span> -<span style="margin-left: 2em;letter-spacing:.5em;">. . . . . . . . . .<br /></span> -<span class="i1">Sans secours, sans asile, errant de mers en mers,<br /></span> -<span class="i1">Par les flots en courroux jeté dans nos deserts,<br /></span> -<span class="i1">Je l’ai reçu, l’ingrat! des fureurs de l’orage<br /></span> -<span class="i1">J’ai sauvé ses sujets, ses vaisseaux de naufrage,<br /></span> -<span class="i1">Je lui donne mon cœur, mon empire, ma main:<br /></span> -<span class="i1">O fureur, et voilà que ce monstre inhumain<br /></span> -<span class="i1">Ose imputer aux dieux son horrible parjure,<br /></span> -<span class="i1">Me parle et d’Apollon, et d’oracle, et d’augure!<br /></span> -<span class="i1">Pour presser son depart, l’ambassadeur des dieux<br /></span> -<span class="i1">Est descendu vers lui de la voûte des cieux:<br /></span> -<span class="i1">Dignes soins, en effet, de ces maîtres du monde!<br /></span> -<span class="i1">En effet, sa grandeur trouble leur paix profonde!<br /></span> -<span class="i1">—C’en est assez; va, pars; je ne te retiens pas;<br /></span> -<span class="i1">Va chercher loin de moi je ne sais quels états:<br /></span> -<span class="i1">S’il est encore un dieu redoubtable aux ingrats,<br /></span> -<span class="i1">J’espère que bientôt, pour prix d’un si grand crime,<br /></span> -<span class="i1">Brisé contre un écueil, plongé dans un abîme,<br /></span> -<span class="i1">Tu paîras mes malheurs, perfide! et de Didon<br /></span> -<span class="i1">Ta voix, ta voix plaintive invoquera le nom.”<br /></span> -</div></div> -</div> - -<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> One of the Roman sea-deities.</p></div> - -<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> Such explanations of an unfavourable result are not -entirely unknown in the annals of modern boat-races. Reasons of a very -apocryphal kind, if not so boldly mythological, have been assigned by -modern captains of crews for their having been beaten. When an -unsuccessful oarsman recounts his deeds to a sympathetic audience, and -“tells how fields were” <i>not</i> won, he is apt to complain that, in some -form or other, the river-gods were unjust. The state of the tide, or an -intruding barge, or an imprudent supper on the part of “No. 7,” takes -the place of Panope and Portunus.</p></div> - -<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> “Superanda omnis fortuna ferendo est.”</p></div> - -<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> Virgil himself has no word of reproach for these weaker -spirits, who thus preferred the rest of Sicily to the far-off hopes of -Hesperia. But his impassioned pupil Dante is less merciful: he classes -them in his “Purgatory” with the murmuring Israelites:— -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i4">“First they died, to whom the sea<br /></span> -<span class="i0">Opened, or ever Jordan saw his heirs;<br /></span> -<span class="i0">And they who with Æneas to the end<br /></span> -<span class="i0">Endured not suffering, for their portion chose<br /></span> -<span class="i0">Life without glory.”<br /></span> -<span class="i8">—Purg. xviii. (Cary.)<br /></span> -</div></div> -</div></div> - -<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> Keble.</p></div> - -<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> The rickety state of Charon’s boat was always a fertile -source of wit to the freethinkers among the classical satirists. Lucian, -in one of his very amusing dialogues, makes Charon complain of his -passengers bringing luggage with them: “My boat is something rotten, -look you, and lets in a good deal of water at the seams; if you come on -board with all that luggage you may repent it—especially those of you -who can’t swim.”—(Dial. Mort., x.) So in another dialogue Menippus -thinks it hard to be asked to pay for his passage over, when “he helped -to bale the boat all the way.” It maybe observed that the boat is said -to be made of hide, stretched on a wooden frame, like the “coracles” of -the Britons, still in use on some of the Welsh rivers. There may be some -connection with an ancient tradition which would identify the “white -rock” of which Homer speaks (Od., xxiv. 11) as marking the entrance to -the regions of the dead with the cliffs of our own island—“Albion.” A -curious old legend of the coast of France gives some colour to the -interpretation. There was a tribe of fishermen who were exempted from -payment of tribute, on the ground that they ferried over into Britain -the souls of the departed. At nightfall, when they were asleep (so the -legend ran), they would be awakened by a loud knocking at their doors, -and voices calling them, and feel a strange compulsion to go down to the -seashore. There they found boats, not their own, ready launched, and to -all appearance empty. “When they stepped on board and began to ply their -oars they found the boats move as though they were heavily laden, -sinking within a finger’s breadth of the water’s edge; but they saw no -man. Within an hour, as it seemed, they reached the opposite coast—a -voyage which in their own boats they hardly made in a whole day and -night. When they touched the shore of Britain still they saw no shape, -but they heard voices welcoming their ghostly passengers, and calling -each of the dead by name and rank. Then having got rid, as it seemed, of -their invisible freight, they put off again for home, feeling their -boats so sensibly lightened that hardly more than the keel touched the -water.—See Gesner’s Notes on Claudian, iii. 123; Procopius, De Bell. -Goth., iv. 20.</p></div> - -<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> We have here the foundation of the fanciful doctrine of a -Limbo Infantum, held by some doctors of the Romish Church—a kind of -vestibule to the greater Purgatory, in which were placed the souls of -such children as died before they were old enough to be admitted to the -sacraments.</p></div> - -<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Aloud she shrieked! for Hermes reappears;<br /></span> -<span class="i1">Round the dear shade she would have clung—’tis vain,<br /></span> -<span class="i1">The hours are past—too brief, had they been years;<br /></span> -<span class="i1">And him no mortal effort can detain:<br /></span> -<span class="i1">Swift, toward the realms that know not earthly day,<br /></span> -<span class="i1">He through the portal takes his silent way,<br /></span> -<span class="i1">And on the palace-floor a lifeless corse she lay.<br /></span> -</div><div class="stanza"> -<span class="i0">“By no weak pity might the gods be moved;<br /></span> -<span class="i1">She who thus perished, not without the crime<br /></span> -<span class="i1">Of lovers that in Reason’s spite have loved,<br /></span> -<span class="i1">Was doomed to wear out her appointed time,<br /></span> -<span class="i1">Apart from happy ghosts that gather flowers<br /></span> -<span class="i1">Of blissful quiet ’mid unfading bowers.”<br /></span> -<span class="i13">—<span class="smcap">Wordsworth’s</span> ‘Laodamia.’<br /></span> -</div></div> -</div></div> - -<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> But none of the recognised translations seem to come so -near the spirit of the original as Lord Macaulay’s paraphrase—for of -course it is only a paraphrase—in his lay of “The Prophecy of Capys:”— -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Leave to the sons of Carthage<br /></span> -<span class="i2">The rudder and the oar;<br /></span> -<span class="i1">Leave to the Greek his marble nymphs<br /></span> -<span class="i2">And scrolls of wordy lore:<br /></span> -<span class="i1">Thine, Roman, is the pilum;<br /></span> -<span class="i2">Roman, the sword is thine;<br /></span> -<span class="i1">The even trench, the bristling mound,<br /></span> -<span class="i2">The legion’s ordered line.”<br /></span> -</div></div> -</div></div> - -<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> Virgil is said to have received from her what would -amount, in our money, to above £2000—“a round sum,” remarks Dryden, -with something like professional envy, “for twenty-seven verses.”</p></div> - -<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> <a href="#page_66">See p. 66.</a></p></div> - -<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> Andrew Marvell most likely borrowed his thought from the -Roman poet in his graceful lines, “The Nymph’s Complaint:”— -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“The wanton troopers, riding by,<br /></span> -<span class="i1">Have shot my fawn, and it will die.<br /></span> -<span class="i1">Ungentle men! they cannot thrive<br /></span> -<span class="i1">Who killed thee. Thou ne’er didst alive<br /></span> -<span class="i1">Them any harm, alas! nor could<br /></span> -<span class="i1">Thy death yet do them any good.”<br /></span> -</div></div> -</div></div> - -<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> No doubt the Camilla of the Roman poet is a reminiscence -of the Amazon Penthesilea in Homer, just as the fairy footstep, that -left no trace on sea or land, is borrowed from those wondrous mares of -Ericthonius to whom Homer assigns the same performance. But the copy far -surpasses the original in grace and beauty. Our English poets have made -free use of this fancy of the footsteps of beauty: none more sweetly -than Jonson in his ‘Sad Shepherd,’ where Æglamour laments his lost -Earinè:— -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Here she was wont to go, and here, and here—<br /></span> -<span class="i1">Just where those daisies, pinks, and violets grow;<br /></span> -<span class="i1">The world may find the spring by following her,<br /></span> -<span class="i1">For other print her airy steps ne’er left.<br /></span> -<span class="i1">Her treading would not bend a blade of grass,<br /></span> -<span class="i1">Or shake the downy blow-bell from his stalk:<br /></span> -<span class="i1">But like the south-west wind she shot along,<br /></span> -<span class="i1">And where she went the flowers took thickest root,<br /></span> -<span class="i1">As she had sowed them with her odorous foot.”<br /></span> -<span class="i6">—The ‘Sad Shepherd,’ Act I. sc. 1.<br /></span> -</div></div> -</div> - -</div> - -<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> The thunderbolt is usually represented on ancient coins -and medallions with twelve rays.</p></div> - -<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> Dido has always been a favourite heroine with Frenchmen, -and has been worked up into three or four tragedies. One writer, partly -adopting M. Segrais’s notion of how things ought to have been—that is -to say, how a Frenchman would have behaved himself when such a parting -was inevitable—has made Æneas take at least a civil farewell of the -injured queen:— -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Helas! si de mon sort j’avais ici mon choix,<br /></span> -<span class="i1">Bornant à vous aimer le bonheur de ma vie,<br /></span> -<span class="i1">Je tiendrais de vos mains un sceptre, une patrie:<br /></span> -<span class="i1">Les dieux m’ont envie le seul de leurs bienfaits,<br /></span> -<span class="i1">Qui pourait réparer tous les maux qu’ils m’ont faits.”<br /></span> -</div></div> -</div> - -<p class="nind"> -And Dido, mollified by this declaration, far from cursing the fugitive -lover in her last moments, assures him of her unchangeable affection, -rather apologising for having so inconveniently fallen in his way, and -delayed him so improperly from Lavinia and his kingdom:— -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Et toi, d’ont j’ai troublée la haute destinée,<br /></span> -<span class="i1">Toi, qui ne m’entends plus—adieux, mon cher Ænée!<br /></span> -<span class="i1">Ne crains point ma colere—elle expire avec moi,<br /></span> -<span class="i1">Et mes derniers soupirs sont encore pour toi!”{*}<br /></span> -</div></div> -</div> - -<p class="c"> -{*} Le Franc de Pompignan, “Didon.”</p></div> - -<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> Prælect., ii. 724.</p></div> - -<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> P. 124.</p></div> - -</div></div> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Virgil, by William Lucas Collins - -*** END OF THIS PROJECT GUTENBERG EBOOK VIRGIL *** - -***** This file should be named 59887-h.htm or 59887-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/9/8/8/59887/ - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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