from Holinshed, that in the eleventh year of King Henry VIII.—that is, in
1520—a comedy of Plautus was played before the King(591). We are informed
by Miss Aikin, in her _Memoirs of the Court of Elizabeth_, that when that
Queen visited Cambridge in 1564, she went on a Sunday morning to King’s
Chapel, to hear a Latin sermon, _ad clerum_; “and in the evening, the body
of this solemn edifice being converted into a temporary theatre, she was
there gratified with a representation of the _Aulularia_ of Plautus(592).”
It has been mentioned in the text, that, in 1595, there appeared a
translation of the _Menæchmi_ of Plautus, by W. W.—initials which have
generally been supposed to stand for William Warner, author of _Albion’s
England_. In 1694, Echard published a prose translation of the three
comedies which had been selected by Mad. Dacier—the _Amphitryon_,
_Epidicus_, and _Rudens_. It is obvious, however, that he has more
frequently translated from the French, than from his original author. His
style, besides, is coarse and inelegant; and, while he aims at being
familiar, he is commonly low and vulgar. Some passages of the _Amphitryon_
he has translated in the coarsest dialogue of the streets:—“By the
mackins, I believe Phœbus has been playing the good fellow, and’s asleep
too! I’ll be hanged if he ben’t in for’t, and has took a little too much
of the creature.” In every page, also, we find the most incongruous jumble
of ancient and of modern manners. He talks of the Lord Chief Justice of
Athens, of bridewell, and aldermen; and makes his heathen characters swear
British and Christian oaths, such as, “By the Lord Harry!—’Fore
George!—’Tis as true as the Gospel!”
In the year 1746, Thomas Cooke, the well-known translator of Hesiod,
published proposals for a complete translation of Plautus, but he printed
only the _Amphitryon_. Dr Johnson has told, that Cooke lived twenty years
on this translation of Plautus, for which he was always taking in
subscriptions(593).
In imitation of Colman, who, in his Terence, had introduced a new and
elegant mode of translation in familiar blank verse, Mr Thornton, in 1667,
published a version of seven of the plays after the same
manner,—_Amphitryon_, _Miles Gloriosus_, _Captivi_, _Trinummus_,
_Mercator_, _Aulularia_, _Rudens_. Of these, the translation of the
_Mercator_ was furnished by Colman, and that of the _Captivi_ by Mr
Warner. Thornton intended to have translated the remaining thirteen, but
was prevented by death. The work, however, was continued by Mr. Warner,
who had translated the _Captivi_. To both versions, there were subjoined
remarks, chiefly collected from the best commentators, and from the notes
of the French translators of Plautus.
TERENCE.
The MSS. of Terence which were coeval with the age of the author, or
shortly posterior to it, were corrupted from the same cause as the MSS. of
Plautus. Varro says, that, in his time, the copies of Terence then
existing were extremely corrupt. He is, however, one of the classics whose
works cannot properly be said to have been discovered at the revival of
literature, as, in fact, his comedies never were lost. They were commented
on, during the later ages of the empire, by Æmilius Asper, Valerius
Probus, Martius Salutaris, Flavius Caper, and Helenius Acro; and towards
the end of the fifth century, Rufinus wrote a diatribe on the metres of
Terence. Sulpicius Apollinaris, a grammarian of the second century,
composed arguments to the plays, and Ælius Donatus commented on them in
the fourth century. The person styling himself Calliopius, revised and
amended, in the eighth century, a MS. which was long preserved in the
Vatican. Eugraphius commented on Terence, again, in the tenth, and
Calpurnius in the middle of the fifteenth century. Guiniforte delivered
lectures on Terence at Novarra in 1430, and Filelfo at Florence about the
same period(594). Petrarch, too, when Leontius Pilatus, disgusted with
Italy, returned to his native country, gave him a copy of Terence as his
travelling companion,—a foolish present, as Petrarch adds, for there is no
resemblance between the most gloomy of all the Greeks, and the most lively
of the Africans. As Petrarch at this time seems to have cordially disliked
Leontius, it is not probable that the copy of Terence he gave him was very
scarce. All this shows, that the six plays of Terence were not merely
extant, but very common in Italy, during the dark ages. One of the oldest
MSS. of Terence, and that which was probably used in the earliest printed
editions, was preserved in the Vatican library: Fabricius has described it
as written by Hrodogarius in the time of Charlemagne, and as revised by
Calliopius(595). Another MS. of Terence in the Vatican library, is one
which, in the sixteenth century, had fallen into the possession of
Cardinal Bembo. It had been revised by Politian(596), who wrote on it, in
his own hand, that he had never seen one more ancient:—“Ego, Angelus
Politianus, homo vetustatis minime incuriosus, nullum me vidisse, ad hanc
diem, codicem vetustiorem fateor.” Its age, when Fabricius wrote, in 1698,
was, as that author testifies, more than a thousand years, which places
its transcription at the latest in 698. In this MS. there is a division of
verses which is not employed in that above mentioned, written by
Hrodogarius. Politian corrected from it, with his own hand, a copy which
was in the Laurentian library, and collated with it another, which
subsequently belonged to Petrus Victorius. After the death of Cardinal
Bembo, this ancient MS. came into the possession of Fulvius Ursinus, and
was by him bequeathed to the Vatican library(597).
There is much uncertainty with regard to the _Editio Princeps_ of Terence,
and, indeed, with regard to most of the editions of his works which
appeared during the fifteenth century. That printed by Mentelin at
Strasburg, without date, but supposed to be 1468, seems now to be
considered as having the best claims to priority(598). The Terence printed
by Pynson in 1497, was, I believe, the first Latin classic published in
this country. The earliest editions of Terence are without any separation
of verses, the division of them having been first introduced in the
edition of 1487, according to the arrangement made by Politian from
Cardinal Bembo’s copy. Westerhovius, in the _prolegomena_ to his edition,
1726, enumerates not fewer than 248 editions of Terence previous to his
time. Though the presses of the Aldi (1517–21), the Stephenses (1529–52,
&c.), and the Elzevirs (1635), were successively employed in these
editions, the text of Terence does not seem to have engaged the attention
of any of the most eminent scholars or critics of the sixteenth and
seventeenth centuries, with the exception of Muretus. The edition of
Faernus, (Florence, 1565,) for which various valuable MSS. were collated,
became the foundation of almost all subsequent impressions, particularly
that of Westerhovius, which is usually accounted the best edition of
Terence. It is nevertheless declared, by Mr Dibdin, “to be more admirable
for elaborate care and research, than the exhibition of any critical
niceties in the construction of the text, or the illustration of difficult
passages.” It contains the Commentaries of Donatus, Calpurnius, and
Eugraphius, and there are prefixed the Life of Terence, attributed to
Suetonius,—a dissertation of D. Heinsius, _Ad Horatii de Plauto et
Terentio judicium_,—Evanthius, _De Tragœdiâ et Comœdiâ_,—and a treatise,
compiled by the editor from the best authorities, concerning the scenic
representations of the Romans.
Bentley’s first edition of Terence was printed at Cambridge in the same
year with that of Westerhovius. One of Bentley’s great objects was the
reformation of the metres of Terence, concerning which he prefixed a
learned dissertation. The boldness of his alterations on the text, which
were in a great measure calculated to serve this purpose, drew down on
him, in his own age, the appellation of “slashing Bentley,” and repeated
castigation from subsequent editors.
Of the more recent editions, that of Zeunius (Leipsic, 1774) is deservedly
accounted the best in point of critical excellence. There are, however,
three German editions still more recent; that by Schmieder, (Halle, 1794,)
by Bothe, (Magdeburg, 1806,) and by Perlet, (Leipsic, 1821;) which last is
chiefly remarkable for its great number of typographical errors—about as
numerous as those in one of the old English _Pearl Bibles_.
The plays of Terence being much less numerous than those of Plautus,
translations of the whole of them appeared at an earlier period, both in
Italian and French. The first complete _Italian_ translation of Terence
was in prose. It is dedicated to Benedetto Curtio, by a person calling
himself Borgofranco; but from the ambiguity of some expressions in this
dedication, there has been a dispute, whether he be the author, or only
the editor of the version—Fontanini supporting the former, and Apostolo
Zeno the latter proposition(599). It was first printed at Venice, 1533;
and Paitoni enumerates six subsequent editions of it in the course of the
sixteenth century. The next version was that of Giovanni Fabrini, which,
as we learn by the title, is rendered word for word from the original; it
was printed at Venice, 1548. A third prose translation, published at Rome,
1612, is dedicated to the Cardinal Borghese by the printer Zanetti, who
mentions, that it was the work of an unknown author, which had fallen
accidentally into his hands: Fontanini, however, and Apost. Zeno, have
long since discovered, that the author was called Cristoforo Rosario.
Crescimbeni speaks favourably of a version by the Marchioness of
Malespini. Another lady, Luisa Bergalli, had translated in _verso
sciolto_, and printed separately, some of the plays of Terence: These she
collected, and, having completed the remainder, published them together at
Venice, in 1733. In 1736, a splendid edition of a poetical translation of
Terence, and accompanied by the Latin, was printed at Urbino, with figures
of the actors, taken from a MS. preserved in the Vatican. It is written in
_verso sciolto_, except the prologues, which are in _versi sdruccioli_.
The author, who was Nicholas Fortiguerra, and who died before his version
was printed, says, that the comedies are _nunc primum Italicis versibus
redditæ_(600); but in this he had not been sufficiently informed, as his
version was preceded by that of Luisa Bergalli, and by many separate
translations of each individual play. A translation of two of Terence’s
plays, the _Andria_ and _Eunuchus_, into _versi sdruccioli_, by Giustiano
de Candia, was printed by Paullus Manutius in 1544(601). Three of
Terence’s plays, the _Andria_, _Eunuchus_, and _Heautontimorumenos_, were
subsequently translated in _versi sdruccioli_, by the Abbé Bellaviti, and
published at Bassan in 1758.
It is not certain who was the author of the first _French_ translation of
Terence, or even at what period he existed. Du Verdier and Fabricius say,
he was Octavien de Saint Gelais, Bishop of Angouleme, who lived in the
reign of Charles VIII. This, however, is doubtful, since Pierre Grosnet, a
French poet, contemporary with the Bishop, while mentioning the other
classics which he had translated, says nothing of any version of Terence
by him, but expressly mentions one by Gilles Cybile—
“Maistre Gilles nommé Cybile,
Il s’est montré très-fort habile:
Car il a tout traduit Therence
Ou il y a mainte sentence(602).”
The author, whoever he may be, mentions, that the translation was made by
order of the King; but he does not specify by which of the French monarchs
the command was given. His work was first printed, but without date, by
Anthony Verard, so well known as the printer of some of the earliest
romances of chivalry; and as Verard died in 1520, it must have been
printed before that date(603). It is in one volume folio, ornamented with
figures in wood-cuts, and is entitled, _Le Grant Therence en François,
tant en rime qu’en prose, avecques le Latin_. As this title imports, there
is both a prose and verse translation; and the Latin text is likewise
given. It is difficult to say which of the translations is worst; that in
verse, which is in lines of eight syllables, is sometimes almost
unintelligible, and the variation of masculine and feminine rhymes, is
scarcely ever attended to.
The translation, printed 1583, with the Latin text, and of which the
author is likewise unknown, is little superior to that by which it was
preceded. Beauchamp, in his _Recherches sur les Théatres de France_,
mentions two other translations of the sixteenth century—one in 1566, the
other in 1584. The first by Jean Bourlier, is in prose—the second is in
rhyme, and is translated verse for verse. Mad. Dacier includes all the
versions of the sixteenth century in one general censure, only excepting
that of the _Eunuch_ by Baif, printed 1573, in his _jeux poëtiques_. It is
in lines of eight and ten syllables, and was undertaken by order of Queen
Catharine, mother of Charles IX. Mad. Dacier pronounces it to be a good
translation, except that, in about twenty passages, the sense of the
original author has been mistaken. It is remarked by Goujet, in his
_Bibliothéque Françoise_, that if Mad. Dacier had been acquainted with the
_Andrian_, by Bonaventure des Perriers, printed in 1537, she would have
made an exception in favour of it also. Bonaventure was the valet of
Margaret, Queen of Navarre, and after her death the editor of her tales,
and himself the author of a collection in a similar taste. He wrote at a
time when the French language was at its highest perfection, being
purified from the coarseness which appeared in the romances of chivalry,
and yet retaining that energy and simplicity, which it in a great measure
lost, soon after the accession of the Bourbons. This version was one of
Bonaventure’s first productions, as, in the _Avis aux Lecteurs_, he says,
“Que c’etait son apprentissage:” he intended to have translated the whole
plays of Terence, but was prevented by his tragical death. The same comedy
chosen by Bonaventure des Perriers, was translated into prose by Charles
Stephens, brother of the celebrated printers.
The Abbé Marolles has succeeded no better in his translation of Terence,
than in that of Plautus. We recognize in it the same heaviness—the same
want of elegance and fidelity to the original. Chapelain remarks, “Que ce
traducteur etoit l’Antipode du bon sens, et qu’il s’eloignoit partout de
l’intelligence des auteurs qui avoient le malheur de passer par ses
mains.” His translation appeared in 1659, in two volumes 8vo, accompanied
by remarks, in the same taste as those with which he had loaded his
Plautus.
About this period, the Gentlemen of the Port-Royal, in France, paid
considerable attention to the education of youth, and to the cultivation
of classical learning. M. de Sacy, a distinguished member of that
religious association, and well known in his day as the author of the
_Heures de Port-Royal_, translated into prose the _Andria_, _Adelphi_, and
_Phormio_(604). This version, which he printed in 1647, under the assumed
name of M. de Saint-Aubin, is much praised in the _Parnasse Reformé_, and
the _Jugemens des Sçavans_. There were many subsequent editions of it, and
some even after the appearance of the translation by Mad. Dacier. The
version of the other three comedies, by the Sieur de Martignac, was
intended, and announced as a supplement, or continuation of the work of M.
de Sacy.
It still remains for me to mention the translation of Terence by Mad.
Dacier. This lady was advised against the undertaking by her friends, but
she was determined to persevere(605). She rose at five o’clock every
morning, during a whole winter, in the course of which she completed four
comedies; but having perused them at the end of some months, she thought
them too much laboured and deficient in ease. She therefore threw them
into the fire, and, with more moderation, recommenced her labour, which
she at length completed, with satisfaction to herself and the public. Her
translation was printed in 1688, 3 vols. 12mo, accompanied with the Latin
text, a preface, a life of the poet, and remarks on each of his pieces.
She has not entered, as in her translations of Plautus, into a particular
examination of every scene, but has contented herself with some general
observations. This lady has also made considerable changes as to the
commencement and termination of the scenes and acts; and her conjectures
on these points are said to have been afterwards confirmed by an
authoritative and excellent MS., discovered in the _Bibliothéque de
Roi_(606). The first edition was improved on, in one subsequently printed
at Rotterdam in 1717, which was also ornamented with figures from two MSS.
There is yet a more recent translation by Le Monnier, 1771, which is now
accounted the best.
The first translation which appeared in this country, and which is
entitled “Terence in Englysh,” is without date, but is supposed to have
been printed in 1520. It was followed by Bernard’s translation,
1598—Hoole’s, 1670—Echard’s, 1694—and Dr Patrick’s, 1745. All those prose
versions are flat and obsolete, and in many places unfaithful to their
original. At length Colman published a translation in familiar blank
verse, in which he has succeeded extremely well. He has seldom mistaken
the sense of his author, and has frequently attained to his polished ease
of style and manner. The notes, which have been judiciously selected from
former commentators, with some observations of his own, form a valuable
part of the work.
LUCILIUS.
F. Douza was the first who collected the fragments of this satiric poet,
and formed them into a _cento_. Having shewn his MS. and notes to Joseph
Scaliger, he was encouraged to print them, and an edition accordingly came
forth at Leyden, in 1597. It soon, however, became very scarce. A single
copy of it was accidentally discovered by Vulpius, in one of the principal
public libraries of Italy; but, owing to the place which it had occupied,
it had been so destroyed by constant eaves-dropping from the roof of the
house, that when he laid his hands on it, it was scarcely legible. Having
restored, however, and amended the text as far as possible, he reprinted
it at Padua in 1735.
LUCRETIUS.
The work of Lucretius, like the Æneid of Virgil, had not received the
finishing hand of its author, at the period of his death. The tradition
that Cicero revised it, and gave it to the public, does not rest on any
authority more ancient than that of Eusebius; and, had the story been
true, it would probably have been mentioned in some part of Cicero’s
voluminous writings, or those of the early critics. Eichstädt(607), while
he denies the revisal by Cicero, is of opinion that it had been corrected
by some critic or grammarian; and that thus two MSS., differing in many
respects from each other, had descended to posterity—the one as it came
from the hand of the poet, and the other as amended by the reviser. This
he attempts to prove from the great inequality of the language—now
obsolete and rugged—now polished and refined—which difference can only, he
thinks, be accounted for, from the original and corrected copies having
been mixed together in some of those middle-age transcriptions, on which
the first printed editions were formed. The old grammarians, too, he
alleges, frequently quote verses of Lucretius, which no longer compose
parts of his poem, and which therefore must have been altogether omitted
by the corrector; and, finally, the readings in the different MSS. are so
widely different, that it is incredible that the variations could have
proceeded from the transcribers or interpolators, and could have been
occasioned only by the author or reviser of the poem.
But though not completely polished by the author, there is no ground for
the conjecture, that the poem ever consisted of more than the present six
books—an opinion which seems to have originated in an orthographical
error, and which is contradictory to the very words of the poet
himself.(608)
The work of Lucretius does not appear to have been popular at Rome, and
the MSS. of it were probably not very numerous in the latter ages of the
empire. It is quoted by Raban Maur, Abbot of Fulda, in his book _De
Universo_(609), which was written in the ninth century. The copies of it,
however, seem to have totally disappeared, previous to the revival of
literature; but at length Poggio Bracciolini, while attending the Council
of Constance, whither he repaired in 1414, discovered a MS. in the
monastery of St Gal, about twenty miles from that city(610). It is from
the following lines, in a Latin elegy, by Cristoforo Landini, on the death
of this celebrated ornament of his age, that we learn to whom we are
indebted for the first of philosophic poems. Landini, recording the
discoveries of his friend, exclaims—
“Illius manu, nobis, doctissime rhetor,
Integer in Latium, Quintiliane, redis;
Et te, Lucreti, longo post tempore, tandem
Civibus et Patriæ reddit habere tuæ.”
Poggio sent the newly-discovered treasure to Niccolo Niccoli, who kept the
original MS. fourteen years. Poggio earnestly demanded it back, and at
length obtained it; but before it was restored, Niccoli made from it, with
his own hand, a transcript, which is still extant in the Laurentian
library(611).
The edition published at Verona, 1486, which is not a very correct one,
was long accounted the _Editio Princeps_ of Lucretius. A more ancient
impression, however, printed at Brescia, 1473, has recently become known
to bibliographers. It was edited by Ferrandus from a single MS. copy,
which was the only one he could procure. But though he had not the
advantage of collating different MSS., the edition is still considered
valuable, for its accuracy and excellent readings. There are, I believe,
only three copies of it now extant, two of which are at present in
England. The text of Lucretius was much corrupted in the subsequent
editions of the fifteenth century, and even in that of Aldus, published at
Venice in 1500, of which Avancius was the editor, and which was the first
_Latin_ classic printed by Aldus(612). This was partly occasioned by the
second edition of 1486 being unfortunately chosen as the basis of all of
them, instead of the prior and preferable edition, printed at Brescia. In
a few, but very few readings, the second edition has improved on the
first, as, for example, in the beautiful description of the helplessness
of a new-born infant—
“Navita, nudus humi jacet infans, _indigus_ omni
Vitali auxilio,” ——
where the Brescian edition reads _indignus_, instead of _indigus_. And
again, in the fifth book—
“Nec poterat quenquam placidi pellacia ponti,
Subdola _pellicere_ in fraudem, ridentibus undis,”