The Aeneid (1 of 152)

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The AENEID OF VIRGIL

TRANSLATED INTO ENGLISH VERSE BY E. FAIRFAX TAYLOR

LONDON: PUBLISHED by J. M. DENT & SONS LTD. AND IN NEW YORK BY E. P. DUTTON & CO.

_First issue of this Edition 1907._ _Reprinted 1910._


INTRODUCTION

Virgil--Publius Vergilius Maro--was born at Andes near Mantua, in the year 70 B.C. His life was uneventful, though he lived in stirring times, and he passed by far the greater part of it in reading his books and writing his poems, undisturbed by the fierce civil strife which continued to rage throughout the Roman Empire, until Octavian, who afterwards became the Emperor Augustus, defeated Antony at the battle of Actium. Though his father was a man of humble origin, Virgil received an excellent education, first at Cremona and Milan, and afterwards at Rome. He was intimate with all the distinguished men of his time, and a personal friend of the Emperor. After the publication of his second work, the _Georgics_, he was recognized as being the greatest poet of his age, and the most striking figure in the brilliant circle of literary men, which was centred at the Court. He died at Brindisi in the spring of 19 B.C.
whilst returning from a journey to Greece, leaving his greatest work, the _Aeneid_, written but unrevised. It was published by his executors, and immediately took its place as the great national Epic of the Roman people. Virgil seems to have been a man of simple, pure, and loveable character, and the references to him in the works of Horace clearly show the affection with which he was regarded by his friends.

Like every cultivated Roman of that age, Virgil was a close student of the literature and philosophy of the Greeks, and his poems bear eloquent testimony to the profound impression made upon him by his reading of the Greek poets. His first important work, the _Eclogues_, was directly inspired by the pastoral poems of Theocritus, from whom he borrowed not only much of his imagery but even whole lines; in the _Georgics_ he took as his model the _Works and Days_ of Hesiod, and though in the former case it must be confessed that he suffers from the weakness inherent in all imitative poetry, in the latter he far surpasses the slow and simple verses of the Boeotian. But here we must guard ourselves against a misapprehension. We moderns look askance at the writer who borrows without acknowledgment the thoughts and phrases of his forerunners, but the Roman critics of the Augustan Age looked at the matter from a different point of view.
They regarded the Greeks as having set the standard of the highest possible achievement in literature, and believed that it should be the aim of every writer to be faithful, not only to the spirit, but even to the letter of their great exemplars. Hence it was only natural that when Virgil essayed the task of writing the national Epic of his country, he should be studious to embody in his work all that was best in Greek Epic poetry.

It is difficult in criticizing Virgil to avoid comparing him to some extent with Homer. But though Virgil copied Homer freely, any comparison between them is apt to be misleading. A primitive epic, like the _Iliad_ or the _Nibelungenlied_, produced by an imaginative people at an early stage in its development, telling its stories simply for the sake of story telling, cannot be judged by the same canons of criticism as a literary epic like the _Aeneid_ or _Paradise Lost_, which is the work of a great poet in an age of advanced culture, and sets forth a great idea in a narrative form. The Greek writer to whom Virgil owes most perhaps, is Apollonius of Rhodes, from whose _Argonautica_ he borrowed the love interest of the _Aeneid_.
And though the Roman is a far greater poet, in this instance the advantage is by no means on his side, for, as Professor Gilbert Murray has so well said, 'the Medea and Jason of the _Argonautica_ are at once more interesting and more natural than their copies, the Dido and Aeneas of the _Aeneid_. The wild love of the witch-maiden sits curiously on the queen and organizer of industrial Carthage; and the two qualities which form an essential part of Jason--the weakness which makes him a traitor, and the deliberate gentleness which contrasts him with Medea--seem incongruous in the father of Rome.' But though Virgil turned to the Greek epics for the general framework and many of the details of his poem, he always remains master of his materials, and stamps them with the impress of his own genius.
The spirit which inspires the _Aeneid_ is wholly Roman, and the deep faith in the National Destiny, and stern sense of duty to which it gives expression, its profoundly religious character and stately and melodious verse, have always caused it to be recognized as the loftiest expression of the dignity and greatness of Rome at her best. But the sympathetic reader will be conscious of a deeper and more abiding charm in the poetry of Virgil. Even in his most splendid passages his verses thrill us with a strange pathos, and his sensitiveness to unseen things--things beautiful and sad--has caused a great writer, himself a master of English prose, to speak of 'his single words and phrases, his pathetic half lines, giving utterance as the voice of Nature herself to that pain and weariness, yet hope of better things, which is the experience of her children in every age.'

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