his translation of the whole poem of Lucretius. As a scholar, he was
eminently qualified for the arduous undertaking in which he had engaged:
but he wrote with such haste, that his production everywhere betrays the
inaccuracies of an author who acquiesces in the first suggestions of his
mind, and who is more desirous of finishing, than ambitious of finishing
well. Besides, he is at all times rather anxious to communicate the simple
meaning of his original, than to exhibit any portion of the ornamental
garb in which it is arrayed. Hence, though generally faithful to his
author, he is almost everywhere deficient in one of the most striking
characteristics of the Roman poet—grandeur and felicity of expression. He
is often tame, prosaic, and even doggerel; and he sometimes discovers the
conceits of a vitiated taste, in the most direct opposition to the simple
character and majestic genius of his Roman original. Pope said, “that
Creech had greatly hurt his translation of Lucretius, by imitating Cowley,
and bringing in turns even into some of the most grand parts(618).” It is
also remarked by Dr Drake, “that in this version the couplet has led in
almost every page to the most ridiculous redundancies. A want of taste,
however, in the selection of language, is as conspicuous in Creech as a
deficiency of skill and address in the management of his
versification(619).” The ample notes with which the translation is
accompanied, are chiefly extracted from the works of Gassendi. A number of
commendatory poems are prefixed, and among others one from Evelyn, in
which he acknowledges, that Creech had succeeded in the glorious
enterprize in which he himself had failed. Dryden was also much pleased
with Creech’s translation, but this did not hinder him from versifying
some of the higher and more ornamental passages, to which Creech had
hardly done justice, as those at the beginning of the first and second
books, the concluding part of the third book, against the fear of death,
and of the fourth concerning the nature of love. On these fine passages
Dryden bestowed the ease, the vigour, and harmony of his muse; but though
executed with his accustomed spirit, his translations want the majestic
solemn colouring of Lucretius, and are somewhat licentious and
paraphrastic. For this, however, he accounts in his Poetical Miscellanies,
in mentioning his translations in comparison with the version of Creech.
“The ways of our translation,” he observes, “are very different—he follows
Lucretius more closely than I have done, which became an interpreter to
the whole poem, I take more liberty, because it best suited with my
design, which was to make him as pleasing as I could. He had been too
voluminous had he used my method in so long a work, and I had certainly
taken his, had I made it my business to translate the whole.”
The translations by Creech and Dryden are both in rhyme. That of Mr Good,
printed in 1805, is in blank verse, and it may well be doubted if this
preference was conducive to the successful execution of his purpose. The
translation is accompanied with the original text of Lucretius, printed
from Wakefield’s edition, and very full notes are subjoined, containing
passages exhibiting imitations of Lucretius by succeeding poets. The
preface includes notices of preceding editions of his author, and the
explanation of his own plan. Then follow a Life of Lucretius, and an
Appendix to the Life, comprehending an analysis and defence of the system
of Epicurus, with a comparative sketch of most other philosophical
theories, both ancient and modern.
The translation of Mr Good was succeeded, in 1813, by that of Dr Busby,
which is in rhyme, and is introduced by enormous _prolegomena_ on the Life
and Genius of Lucretius, and the Philosophy and Morals of his Poem.
CATULLUS.
The MSS. of Catullus were defaced and imperfect, as far back as the time
of Aulus Gellius(620), who lived in the reigns of Adrian and the
Antonines; and there were _variæ lectiones_ in his age, as well as in the
fifteenth century. There was a MS. of Catullus extant at Verona in the
tenth century which was perused by the Bishop Raterius, who came from
beyond the Alps, and who refers to it in his Discourses as a work he had
never seen till his arrival at Verona. Another was possessed in the
fourteenth century by Pastrengo, a Veronese gentleman, and a friend of
Petrarch(621), who quotes it twice in his work _De Originibus_; but these
and all other MSS. had entirely disappeared amid the confusions with which
Italy was at that time agitated, and Catullus may, therefore, be
considered as one of the classics brought to light at the revival of
literature. The MS. containing the poems of Catullus was not found in
Italy, but in one of the monasteries of France or Germany, (Scaliger says
of France,) in the course of the fifteenth century, and according to
Maffei, in 1425(622). All that we know concerning its discovery is
contained in a barbarous Latin epigram, written by Guarinus of Verona, who
chose to give his information on the subject in an almost unintelligible
riddle. It was prefixed to an edition of Catullus, printed in Italy 1472,
where it is entitled _Hextichum Guarini Veronensis Oratoris Clariss. in
libellum V. Catulli ejus concivis_:
“Ad Patriam venio longis de finibus exul:
Causa mei reditûs compatriota fuit.
Scilicet a calamis tribuit cui Francia nomen,
Quique notat turbæ prætereuntis iter.
Quo licet ingenio vestrum celebrate Catullum
Quovis sub modio clausa papyrus erat.”
The first line explains that the MS. was brought to Italy from beyond the
Alps, and the second that it was discovered by a countryman of Catullus,
that is, by a citizen of Verona. The third line contains the grand
_conundrum_. Some critics have supposed that it points out the name of a
monastery where the MS. was discovered; others, that it designates the
name of the person who found it. Lessing is of this last opinion; and,
according to his interpretation, the line implies, that it was discovered
by some one whose name is the French word for quills or pens, that is,
_plumes_. The name nearest this is Plumatius, on which foundation Lessing
attributes the discovery of Catullus to Bernardinus Plumatius, a great
scholar and physician of Verona, who flourished during the last half of
the fifteenth century(623). This conjecture of Lessing was better founded
than he himself seems to have been aware, as the second syllable in the
name Plumatius is not remote from the French verb _hater_, which, in one
sense, as the epigram expresses it—
“Notat turbæ prætereuntis iter.”
Lucius Pignorius, who thinks that these lines were not written by Guarinus
of Verona, but that the MS. was discovered by him, also conjectures that
it was found in a barn, since it is said in the last line, that it was
concealed _sub modio_, and bushels are nowhere but in barns(624). This is
taking the line in its most literal signification, but the expression
probably was meant only as proverbial.
The wretched situation in which this MS. was found, and the circumstance
of its being the only one of any antiquity extant, sufficiently accounts
for the numerous and evident corruptions of the text of Catullus, and for
the editions of that poet presenting a greater number of various and
contradictory readings than those of almost any other classic.
After this MS. was brought to Italy, it fell into the hands of Guarinus of
Verona, who took much pains in correcting it, and it was further amended
by his son Baptista Guarinus, as a third person of the family, Alexander
Guarinus, informs us, in the _proœmium_ to his edition of Catullus, 1521,
addressed to Alphonso, third Duke of Ferrara. Baptista Guarinus, as
Alexander farther mentions in his _proœmium_, published an edition of
Catullus from the MS. which he had taken so much pains to correct, but
without any commentary. This edition, however, has now entirely
disappeared; and that of 1472, printed by Spira, at Venice, in which
Catullus is united with Tibullus and Propertius, is accounted the _Editio
Princeps_. The different editions in which these poets have appeared
conjoined, will be more conveniently enumerated hereafter: both in them,
and in the impressions of Catullus printed separately, the editors had
departed widely from the corrected text of Baptista Guarinus. Accordingly,
Alexander Guarinus, in 1521, printed an edition of Catullus, with the view
of restoring the genuine readings of his father and grandfather, who had
wrought on the ancient MS. which was the prototype of all the others. It
would appear, however, that the erroneous readings had become inveterate.
Maffei, in his _Verona Illustrata_(625), points out the absurd and
unauthorized alterations of Vossius and Scaliger on the pure readings of
the Guarini.
Muretus took charge of an edition of Catullus, which was printed by the
younger Aldus Manutius in 1558. This production is not accounted such as
might be expected from the consummate critic and scholar by whom it was
prepared. Isaac Vossius had commented on Catullus; but his annotations lay
concealed for many years after his death, till they were at length brought
to light by his amanuensis Beverland, who, by means of this valuable
acquisition, was enabled to prepare the best edition which had yet
appeared of Catullus, and which was first printed in London in 1684. His
commentary was on every point profoundly learned.—“Poetam,” says Harles,
“commentario eruditissimo, ita tamen ut inverecundiâ illi interdum haud
cederet, illustravit.” Vulpius published a yet better edition at Padua, in
1737, in the preparation of which he made great use of the _Editio
Princeps_. In the notes, he has introduced a new and most agreeable
species of commentary,—illustrating his author by parallel passages from
the ancient and modern poets, particularly the Italian; not such parallel
passages as Wakefield has amassed, where the words _qui_ or _atque_ occur
in both, but where there is an obvious imitation or resemblance in the
thought or image. He has also prefixed a diatribe _De Metris Catullianis_.
In the year 1738, a curious fraud was practised with regard to Catullus.
Carradini de Allio, a scholar of some note, published at Venice an
edition, which he pretended to have printed from an ancient MS.
accidentally discovered by him in a pottery, without a cover or
title-page, and all besmeared with filth. It was dedicated to the Elector
of Bavaria; and though one of the most impudent cheats of the sort that
had been practised since the time of Sigonius and Annius Viterbiensis, it
imposed on many learned men. The credit it obtained, introduced new
disorders into the text of Catullus; and when the fraud was at length
detected, the contriver of it only laughed at the temporary success of his
imposture.
Doering, in early life, had printed an edition of the principal poem of
Catullus, the _Epithalamium of Peleus and Thetis_. Encouraged by the
success of this publication, he subsequently prepared a complete edition
of Catullus, which came forth at Leipsic in 1788.
The _Epithalamium of Peleus and Thetis_, the chief production of Catullus,
was translated into _Italian_ by Ludovico Dolce, and printed in 1538, at
the end of a small volume of miscellaneous works dedicated to Titian. In
the colophon it is said, “Il fine dell’ epitalamio tradotto per M. Lod.
Dolce, in verso sciolto.” This Epithalamium was also translated in the
eighteenth century, into _Ottava Rima_, by Parisotti, with a long preface,
in which he maintains that the _ottava_, or _terza rima_, is better
adapted for the translation of the Latin classics than _versi sciolti_.
Ginguené, in the preface to his French translation of this Epithalamium,
mentions three other Italian versions of the last century, those of
Neruci, Torelli, and the Count d’Ayano, all of which, he says, possess
considerable merit. He also informs us, that Antonio Conti had commenced a
translation of this poem, which was found incomplete at his death; but it
was accompanied by many valuable criticisms and annotations, which have
been much employed in a Memoir inserted in the transactions of the French
Academy, by M. D’Arnaud, whose plagiarisms from the Italian author have
been pointed out at full length by M. Ginguené, in his preface. Conti
completed a translation of the _Coma Berenices_ in _versi sciolti_,
accompanied by an explanation of the subject, and learned notes, which was
printed along with his works at Venice, in 1739. The _Coma Berenices_ was
also translated in _terza rima_ by the Neapolitan Saverio Mattei, and by
Pagnini in _versi sdruccioli_. At length, in 1803, M. Ugo Foscolo, now
well known in this country as the author of the Letters of Jacopo Ortis,
printed at Milan a translation of this elegy, in blank verse, under the
title of _La Chioma di Berenice, poema di Callimaco, tradotto da Valerio
Catullo, volgarizzato ed illustrato da Ugo Foscolo_. The version is
preceded by four dissertations; the text is accompanied with notes, and
followed by fourteen _considerazioni_, as they are called, in which the
author severely censures and satirizes the pedantic commentators and
philologers of his country. Mr Hobhouse, in his _Illustrations of Childe
Harold_(626), says, that the whole lucubration, extending to nearly 300
pages of large octavo, is a grave and continued irony on the verbal
criticisms of commentators. “Some of the learned,” he continues, “fell
into the snare, and Foscolo, who had issued only a few copies, now added a
Farewell to his readers, in which he repays their praises, by exposing the
mysteries and abuses of the philological art. Those whom he had deceived
must have been not a little irritated to find that his frequent citations
were invented for the occasion, and that his commentary had been purposely
sprinkled with many of the grossest faults.”
The whole works of Catullus were first translated into Italian by the
Abbot Francis Maria Biacca of Parma, who concealed his real designation,
according to the affected fashion of the times, under the appellation of
Parmindo Ibichense, _Pastor Arcade_. The Abbot died in 1735, and his
version was printed at Milan after his death, in 1740, in the twenty-first
volume of the General Collection of Italian Translations from the Ancient
Latin Poets. The most recent Italian version is that of Puccini, printed
at Pisa in 1805. It is very deficient in point of spirit; and the last
English translator of Catullus observes, “that it is chiefly remarkable
for the squeamishness with which it omits all warmth in the love verses,
while it unblushingly retains some of the most disgusting passages.”
The _French_ have at all times dealt much in prose translations of the
Classics. These did not suit very well for the epic poems, or even
comedies or the Romans; and were totally abhorrent from the lyrical or
epigrammatic productions of Catullus. A great deal of the beauty of every
poem consists in the melody of its numbers. But there are certain species
of poetry, of which the _chief_ merit lies in the sweetness and harmony of
versification. A boldness of figures, too—a luxuriance of imagery—a
frequent use of metaphors—a quickness of transition—a freedom of
digression, which are allowable in every sort of poetry, are to many
species of it essential. But these are quite unsuitable to the character
of prose, and when seen in a prose translation, they appear preposterous
and out of place, because they are never found in any original prose
composition. Now, the beauties of Catullus are precisely of that nature,
of which it is impossible to convey the smallest idea in a prose
translation. Many of his poems are of a lyric description, in which a
greater degree of irregularity of thought, and a more unrestrained
exuberance of fancy, are permitted than in any other kind of composition.
To attempt, therefore, a translation of a lyric poem into prose, is the
most absurd of all undertakings; for those very characters of the
original, which are essential to it, and which constitute its highest
beauty, if transferred to a prose translation, become unpardonable
blemishes. What could be more ridiculous than a French prose translation
of the wild dithyrambics of Atis, or the fervent and almost phrenzied love
verses to Lesbia? It is from poetry that the elegies of Catullus derive
almost all their tenderness—his amorous verses all their delicacy,
playfulness, or voluptuousness—and his epigrams all their sting.
That indefatigable translator of the Latin poets, the Abbé Marolles, was
the first person who _traduced_ Catullus in French. He was an author, of
all others, the worst qualified to succeed in the task which he had
undertaken, as his heavy and leaden pen was ill adapted to express the
elegant light graces of his original. His prose translation was printed in
1653. It was succeeded, in 1676, by one in verse, also by Marolles, but of
which only thirty copies were thrown off and distributed among the
translator’s friends. La Chapelle (not the author of the _Voyage_)
translated most of the poems of Catullus, and inserted them in his
_Histoire Galante_, entitled the _Amours de Catulle_, printed in 1680,
which relates, in the style of an amatory prose romance, the adventures
and intrigues of Catullus, his friends, and mistresses. The next
translation, though not of the whole of his pieces, is by M. Pezay,
printed 1771, who misses no opportunity of ridiculing Marolles and his
work. It is in prose, as is also a more recent French translation by M.
Noel, Paris, 1806. The first volume of Noel’s work contains the _Discours
Preliminaire_ on the Life, Poetry, Editions, and Translations of Catullus;
and the version itself, which is accompanied with the Latin text. The
second volume comprises a very large body of notes, chiefly exhibiting the
imitations of Catullus by French poets. Brunet mentions a translation
still more recent, by M. Mollevaut, which is in verse, and proves that
more justice may be done to Catullus in rhyme than prose.
An _English_ translation of Catullus, usually ascribed to Dr Nott, was
published anonymously in 1795, accompanied with some valuable annotations.
He was the first to give, as he himself says, the whole of Catullus,
without reserve, and in some way or other, to translate all his
indecencies. This version adheres very closely to the original, and has
the merit of being simple and literal, but it is meagre and inelegant: it
is defective in ease and freedom, and but seldom presents us with any of
those graces of poetry, and indeed almost unattainable felicities of
diction, which characterize the original. While writing this, the poetical
translation by Mr Lamb has come to my hands. It is also furnished with a
long preface and notes, which appear to be tasteful and amusing. The chief
objections to the translation are quite the reverse of those which have
been stated to the version by which it was preceded—it seems defective in
point of fidelity, and is too diffuse and redundant. No author suffers so
much by being diluted as Catullus, and he can only be given with effect by
a brevity as condensed and _piquant_ as his own. Indeed, the thoughts and
language of Catullus throw more difficulties in the way of a translator,
than those of almost any other classic author. His peculiarities of
feeling—his idiomatic delicacies of style—that light ineffable grace—that
elegant ease and spirit, with which he was more richly endued than almost
any other poet, can hardly pass through the hands of a translator without
being in some degree sullied or alloyed.
LABERIUS—PUBLIUS SYRUS.
The only fragment of any length or importance which we possess of
Laberius, has been saved by Macrobius, in his _Saturnalia_. The fragments
of Publius Syrus were chiefly preserved by Seneca and Au. Gellius, and the
scattered maxims which they had recorded, were collected in various MSS.
of the fourteenth and fifteenth centuries. They were first printed
together, under the superintendence of Erasmus, in 1502, as revised and
corrected from a MS. in the University of Cambridge. Fabricius published
some additional maxims, which had not previously been printed, in 1550.
Stephens edited them at the end of his Fragments from the Greek and Latin
Comic Poets, 1564; and Bentley published them along with Terence and the
Fables of Phædrus, at Cambridge, in 1726. An improved edition, which had
been prepared by Gruter, was printed under the superintendence of
Havercamp, from a MS. after his death. The most complete edition, however,
which has yet appeared, is that published by Orellius, at Leipsic, 1822.
It contains 879 maxims, arranged in alphabetical order, from which, at
least as the editor asserts, all those which are spurious have been
rejected, and several that are genuine added. A Greek version of the
maxims, by Jos. Scaliger, is given by him on the opposite side of the
page, and he has appended a long commentary, in which he has quoted all
the maxims of preceding or subsequent authors, who have expressed
sentiments similar to those of Publius Syrus.
The sentences were translated into _English_ from the edition of Erasmus,
under the following title: “Proverbs or Adagies, with newe Additions,
gathered out of the Chiliades of Erasmus, by Richard Taverner. Hereunto be
also added, Mimi Publiani. Imprinted at Lo’don, in Fletstrete, at the
signe of the Whyte Harte. _Cum privilegio ad imprimendum solum._” On the
back of the title is “the Prologe of the author, apologizing for his
slender capacitie;” and concluding, “yet my harte is not to be blamed.” It
contains sixty-four leaves, the last blank. On the last printed page are
the “Faultes escaped in printynge,” which are seven in number. Beneath is
the colophon, “Imprinted at London by Richarde Bankes, at the Whyte Harte,
1539.” This book was frequently reprinted. James Elphinston, long known to
the public by his unsuccessful attempt to introduce a new and uniform mode
of spelling into the English language, translated, in 1794, “The
Sentencious Poets—Publius dhe Syrrian—Laberius dhe Roman Knight, &c.
arrainged and translated into correspondent Inglish Mezzure(627).”
CATO—VARRO.
It appears from Aulus Gellius, that, even in his time, the works of Cato
had begun to be corrupted by the ignorance of transcribers. As mentioned
in the text, his book on Agriculture, the only one of his numerous
writings which survives, has come down to us in a very imperfect and
mutilated state. A MS. of Cato, but very faulty and incomplete, was in
possession of Niccolo Niccoli; and a letter from him is extant, requesting
one of his correspondents, called Michelotius, to borrow for him a very
ancient copy from the Bishop Aretino, in order that his own might be
rendered more perfect(628). Most of the editions we now have, follow a MS.
which is said to have been discovered at Paris by the architect Fra
Giocondo of Verona, and was brought by him to Italy. Varro’s treatise on
Agriculture was first discovered by Candidi, as he himself announces in a
letter to Niccolo Niccoli(629).