LETTER VIII. "Where Simois Streams incumber'd with the Slain, Roll'd Shields, and Helms, and Heroes to the Main. Again, " Urbs antiqua fuit, Tyrii tenuere coloni Carthago, Italiam contra, Tiberinaque longe Ostia, dives opum, studiisque asperrima belli, Dr. Trapp , "Fronting th' Italian Coast, and Tyber 's Mouth, Tho' far remote, an ancient City stood. Carthage its Name, a Colony of Tyre , Mighty in Wealth, and rough in study'd War, Mr. Pit , "Against th' Italian Coast, of ancient Fame, A City rose, and Carthage was the Name; A Tyrian Colony: From Tyber far, Rich, rough, and brave, and exercis'd in War, Again, " Hoc metuens, molemque & montis insuper altos Imposuit, regemque dedit, qui fœdere certo Et premere, & laxas sciret dare jussus habenas, Dr. Trapp , "But fearing this, the Sovereign of the Gods Pent them in gloomy Caves, and o'er them threw Vast Piles of massy Rocks; impos'd a King, Who should by certain Measures know to curb, Or, when commanded, to indulge their Rage. [page 68] Mr. Pit , "But Jove , the mighty Ruin to prevent, In gloomy Caves th'Aereal Captives pent: O'er their wild Rage the pond'rous Rock he spread, And hurl'd huge Heaps of Mountains on their Head; And gave a King commissioned to restrain And curb the Tempest, or to loose the Rein. Hurl'd , huge , Heaps , Head , all in the same Line, imitate Virgil's Metuens , Molem , Montis . And again, "———————— Facti de nomine Byrsam; Sed vos qui tandem, quibus aut venistis ab oris , Quove tenetis iter? ————————— Dr. Trapp , "———————And the Name of Byrsa gave In Mem'ry of the Deed. But, in your turn, At length inform me, who, and whence you are, And whither bound? —————— Mr. Pit , "Hence Byrsa nam'd: But now ye Strangers, say, Who? Whence you are? And whither lies your way?——— There is no Occasion to make any more Remarks upon these Lines. Nov. 20. 1736. I am , Sir , &c. [page 69] LETTER VIII. SIR , I T has been said by several Persons, especially by Foreigners, that there is no such thing as Measure or Feet, or long and short Syllables in English Words. This Mistake, I believe, is chiefly owing to Vossius , who has advanc'd it in his Treatise De Poematum Cantu , &c. As also, that the French Language is more fit for Heroick Verse than the English . To examine one or both of these Points will be the Subject of this Letter. That our Language does not abound with Dactyls and Spondees is very true; but that we have Words enough which are perfect Iambick and Trochaick Feet is very certain, and this naturally makes our Verse Iambick. Divine , Attend , Directs , are as perfect Iambicks as any Latin Words of two Syllables, and so are most of our Monosyllable Nouns with their Particles. The Lord , The Man , The Rock . Every one must perceive that in all these Words, the last Syllable strikes the Ear more than the first, or, in other Words, the last is longer than the first, which is all that makes an Iambick Latin Foot. The following Words, People , Substance , Angels , Chearful , and the like, are all Trochaick Feet; for it is easily observ'd, that the first Syllable dwells [page 70] longer on the Ear than the latter. I wonder that Vossius , who was a Canon of Windsor , did not perceive this in the Metre which he could not but often have heard at Church. "All People that on Earth do dwell Sing to the Lord with chearful Voice. Suppose these two Lines were alter'd thus, "All ye People that on Earth dwell, Sing to the Lord with Voice chearful. Here the natural Sound of the Words People and Chearful is very much alter'd, by their being wrong plac'd; or rather, the Verse is quite destroy'd: But to chuse an Example from Milton . "And if our Substance be indeed Divine .———— Let this be alter'd, "And indeed Divine if be our Substance.———— Is not the Verse quite destroy'd by this Alteration? And does it not appear to be so, because Indeed and Divine , which are Iambick Feet, are plac'd as if they were Trochaick, and Substance , which is a Trochaick Foot, is plac'd as if it were an Iambick? But I might have omitted the altering of this Line of Milton 's, if I had thought of one in Cowley's Davideis , which is as barbarous as it is possible for the Wit of Man to make a Verse. "To Divine Nobé directs then his Flight. Lib. 3. v. 3. [page 71] Nobé , Mr. Cowley says in his Notes, he puts instead of Nob , because that Word seem'd to him to be unheroical . But that is not what I am chiefly to take notice of. Divine and Directs are both Iambicks, but Mr. Cowley has made them both Trochaicks, which makes this Line so terrible to the Ear. It is plain that Vossius , who came into England when he was pretty much advanc'd in Years, and in all probability convers'd chiefly in Latin or French , knew nothing at all of the Pronunciation of English Words. We have as certainly Feet or Numbers in our Language, as in the Latin ; and indeed the Latin seems to me to be rather more arbitrary in this respect than the English . What Reason can be given why ma in manus is short, and ma in manes long? Why is a in amens long, and a in amans short, and the like of other Words too numerous to relate? That all English Verses are Iambick , appears most plainly by considering Monosyllable Lines. For Example: "Arms and the Man I sing, who forc'd by Fate. Here Arms , the , I , who , by , appear to be shorter in their Sound than and , man , sing , forc'd , fate . Again, "Breathe soft or loud, and wave your Tops, ye Pines. In this Line the same Difference is perceiv'd between breathe , or , your , ye ; and soft , loud , wave , tops , pines . [page 72] Whence it is evident that these Lines are perfectly Iambick. The Particle and , as well as some other Monosyllables, may be said to be common, like many Words in Latin ; they submit themselves to be alter'd by the Voice in reading, and may be pronounced either long or short: But this is not so in other Words. And here it may be proper to observe, that Milton has a very artful Way of varying his Numbers, by putting a Trochaick Foot at the Beginning of a Verse; and the Reason why he could do it, is, that the Verse is not enough form'd in that place for the Ear to perceive the Want of the proper Measure. The Examples of this kind are very numerous: I will mention but two. " Angels , for ye behold him, and with Song. And again, " Fountains , and ye that warble as ye flow. Nov. 27. 1736. I am , Sir , &c. [page 73] LETTER IX. SIR , T O reply to the Opinion that Vossius has given in favour of French Verse compared with English , I would observe in the first Place that what the French call Heroick Verse, is the very worst Sort of Verse that can be contriv'd. If the Excellence of Verse consists chiefly in varying the Pause, as I have shewn it does in the Latin , and could do the same in the Greek and other Languages; what must be thought of that Sort of Versification in which the Pause is most strictly preserv'd in the same Place in every Line, be it for 10 or 20 thousand together, especially in Verses of 12 Syllables? Perhaps an Englishman may not be a very proper Person to make this Objection to French Verse: I will therefore produce the Opinion of several of their own Writers. Ronsard , in the Preface to his Franciade , owns that their Alexandrine Lines have too much prattle ( ils ont trop de caquet ) and that it is a Fault in their Poetry that one Line does not run into another, and therefore he wrote his Franciade in Verses of ten Syllables, and broke the Measure. The Author of the History of French Poetry confesses, that the constant Pause in their Lines makes the Poetry tedious; and the judicious and learned Translator of [page 74] Quintilian says directly, that it is owing to the continual Sameness of Numbers that their Verse cannot please long. In reality, it is a kind of Stanza, and ought to be so writ. Jeune & vaillant Heros Dont la haute sagesse N'est point le fruit tardif D'une lente vieillesse. Not to insist upon the Prattle (as Ronsard calls it) of these two celebrated Lines; for what does Vaillant add to Heros , or haute to sagesse , and what is the Difference between tardif and lente ? I say to let this pass, the eternal Repetition of the same Pause is the Reverse of Harmony: Three Feet and three Feet for thousands of Lines together, make exactly the same Musick as the ting, tong, tang of the same Number of Bells in a Country-Church. We had this wretched sort of Metre amongst us formerly, and Chaucer is justly stil'd the Father of English Verse, because he was the first that ever wrote in rhym'd Couplets of ten Syllables each Line. He found, by his Judgment, and the Delicacy of his Ear, that Lines of eight Syllables, such as Gower his Cotemporary wrote in, were too short, and the twelve Syllable-Lines too long. He pitch'd upon the other Sort just mentioned, and that is now found, by the Experience of so many Ages, to be the most majestick and most harmonious kind of Verse. Just the same Obligation the Romans had to Ennius : He first introduc'd the Hexameter Line, and therefore is properly called the Father of their Poetry; and it is judiciously said, that if they had never had Ennius , perhaps they had never had Virgil . If the French had taken Ronsard 's Advice instead of following Malherbe , perhaps they might, and indeed they certainly would have arriv'd at a better Art of [page 75] Versification than we see now amongst them: But they have miss'd their Way; tho' had it happen'd otherwise, they could never have equall'd the English in Poetry, because their Language is not capable of it, for two Reasons which I shall mention, and many others that I could add to them. 1st , Their Words do not sound so fully as ours, of which these Nouns are Examples, God , Dieu . Man , L'Homme . In both the English Words every Letter is perceiv'd by the Ear. In the French the first Word is of a very confused Sound, and the latter dies away in the e mute. So Angels , Ange . Head , Tete . And innumerable others. And in Verbs, to love , to hate , Aimer , Hayir . In the English the Sound is clear and strong. In French the last Letter is dropp'd, and the Words don't dwell upon the Ear like the English . 2d , They have too many Particles: To shew how much more their Verse is incumber'd by them than the English , I will give you an Example from a Passage in Milton . "So spoke, so wish'd much humbled Eve , but Subscrib'd not; Nature first gave Signs, imprest On Bird, Beast, Air; Air suddenly eclips'd After short blush of Morn.—————— Now to put this Passage into French all the following Particles must be added. Le , La , Des , Les , Les , Le , Le , Un , Du . Of which there is not one in the English : And what an Effect this would have in Heroick Verse, you will easily judge. [page 76] Upon the whole, Vossius was very little acquainted with English Heroic Poetry. Hudibras was the favourite Bard in his time, and therefore he does us the Honour to say, the English is extremely fit for that sort of Poetry which the Italians call Sdruccioli , that is, Doggrel Verse. Thus much for Vossius , and his French and English Poetry. I will now shew you a very different Opinion of another learned Foreigner, referr'd to more than once already, and I will give it you in his own Words. " Sane in Epico Carminum genere ; Joh. Miltoni insigne poema , The Paradise Lost, Gallos omnes in epicis inseliciores longo post se intervallo reliquit . Morhosius Polyhistor. This judicious Critick gave the same Opinion of Mr. Cowley above 50 Years ago, which Mr. Pope has given of him lately in one of his Horatian Epistles. "Abr. Cowley seu Coulejus poemata scripsit , &c. Quæ ad genium Virgiliani Carminis non accedunt: argutiis enim nimium indulget, ut Epigrammaticum potius quod interdum scribat, quam planum carmen: Ac præterea non ubique purus est: quanquam Angli illum omnes veterum Poetarum numeros implevisse sibi persuadeant. Foreigners, I am apt to think, frequently judge with more Exactness of our Countrymen's Performances than the generality of the Natives. I think the Judgment of another learned Foreigner very sensible, when he says upon reading Virgilium Dryděni , "That if the Original had been no better than the Copy, Augustus would have done well to have committed it to the Flames." But the Author's own Words are worth perusing. [page 77] " Sæpe, Maro, dixi, quantum mutatus ab illo es! Romani quondam qui stupor orbis eras . Si te sic tantum voluisset vivere Cæsar , Quam satius, flammis te periisse foret . Vid. Fabric. Bib. Lat. December 4. 1736, I am , Sir , &c. [page 78] LETTER X. SIR , B Y what I have shewn in the preceding Letters, it sufficiently appears that Virgil and Milton had good reason to begin with Hinc canere incipiam . Nunc te Bacche canam. Arma Virumque cano. Sing Heavenly Muse. Their Verse is all Musick , and that is the reason why their Poems please, though ever so often read: And all Poetry that is not attended with Harmony, is properly speaking no Poetry at all. Let the Sense be ever so fine, if the Verse is not melodious , the Reader will undoubtedly find himself soon overtaken with Drowsiness. But what I chiefly hope I have made out, is, that Rhyme does not owe its Original to Druids , or to dreaming Monks , since it is certain there is more Rhyme in Virgil , than there can be in any English Translation of his Works. English Verse never admits but of two Syllables that Rhyme in two Lines. But in Virgil , it is not easy to tell how many Rhymes there are in a single Line; as for Example, [page 79] " O nimium Cœlo, & pelago confise sereno, " Et sola in siccâ secum spatiatur arenâ. And the like. But what would you say, if I was to observe to you all that Erythræus has writ of the Rhyme Cum intervallo, & sine intervallo in Virgil ? Of the Rhyme sine intervallo there are four Examples in the two first Lines of the Æneid , namely, in the first, no — tro , and qui — pri . In the second, to — pro , and que — ve . " Arma virumque canō, trōjæ quī prīmus ab oris Italiam, fatō prōfugus, Lavinaquē vēnit. — But for this particular, and the other just mentioned, I refer you to Erythræus himself, if you would be fully instructed on this Subject. The Conclusion of this whole Matter is this: Rhyme is certainly one of the chief Ornaments of Latin Verse, even of Virgil 's Verse: Most of his wonderful, harmonious Paragraphs are concluded with a full, strong, plain Rhyme: And if this is the Case; if Virgil 's Verse would lose one of its chief Ornaments by being stript of Rhyme, What would English Verse do without it? Those learned Persons who in their Writings have treated Rhyme only as a needless Gingle , had not fully considered all that could be said on this Subject: Rhyme , as I have observed once before, has many Enemies because of its Difficulty, when accompanied with all the other necessary Arts of Versification. It is a particular Talent which very few are blessed with, and ought to be esteemed accordingly: But if we give way to the Disuse of it, and even suffer Blank Verse to be brought in Competition with it, Poetry will in a short time be lost in England , as it has been long [page 80] since in Italy , and, if I mistake not, from this very Cause. They have Blank-vers'd Homer , Virgil , and Milton , and I believe all the Classick Poets : And if we follow their Example in giving Applause to this kind of Verse, we must expect the same Consequences. We should be the more to blame in this respect, because we have lately had so many excellent Writers of proper Verse amongst us, as Addison , Rowe , Prior , and many others; and have now Mr. Pope , Mr. Pit , and some whom I do not just now recollect. Milton , as I observ'd already, is never to be mention'd as an Example in favour of Blank-Verse: To supply the Want of Rhyme in him, there are so many Arts of Verse, such Variety of Melody, that it would require no small Volume to point them out. I have nothing more to add, but that it is a very surprizing thing, that Milton ever undertook to write in such a Stile as he has made use of, and yet more surprizing that he should be read by all sorts of People, considering that the Stile is more properly Latin or Greek than English . I believe both these Things arise from the same Cause, which to me seems to be the English Bible ; at least, as to the latter, it cannot be from any thing else. That Milton acquir'd his Stile from the Common Bible , is not at all improbable, though he understood the Original. It is certain he was entirely conversant with the Bible , and, in all Probability frequently made use of the English Translation. Now this Translation is, by Great Providence, (give me leave to call it so) adapted to the Latin and Greek Collocation , or Arrangement of Words; that is, the Words are placed in the English as they stand in those Languages, which, perhaps, you may not have so much attended to but that you may be glad to see some Examples of what [page 81] I am speaking of. Psalm v. 3. My Voice shalt thou hear in the Morning, O Lord; in the Morning will I direct Prayer unto thee, and will look up. Matthew xiii. 1. The same Day went Jesus out of the House, and sat by the Sea-side. Matthew xxvii. 32. And as they came out, they found a Man of Cyrene, Simon by Name : Him they compelled to bear his Cross . John ii. 11. This Beginning of Miracles did Jesus in Cana of Galilee. John xii. 16. These things understood not his Disciples at the first. John viii. 44. Ye are of your Father the Devil, and the Lusts of your Father will ye do. " Verbo sensum cludere, multo, si compositio patiatur, optimum est. In Verbis enim Sermonis vis inest. " Quintil. By these Passages, and innumerable others that might be produc'd, it appears that the English Bible is translated in such a manner as I have mentioned above: And as we see many Places in the Paradise Lost , which are exactly taken from this Translation, Why may we not conclude Milton acquir'd much of his Stile from this Book? I can give an Instance of another very learned Person, who certainly learnt his way of Writing from it. I mean the late Dr. Clarke . Nothing can be more clear than his Stile , and yet nothing can be more like the Greek or Latin , agreeably to the English Bible . I beg leave to produce one Instance from his Exposition of the Church Catechism . [page 82] " Next after the Creed are in natural Order plac'd the Ten Commandments. Is there any thing in Demosthenes or Tully more inverted than this Passage? And yet the meanest Persons understand it, and are not at all shock'd at it; and this cannot possibly, with respect to them, proceed from any thing else, but their having been from their Childhood accustomed to this Language in the Bible , and their still continuing frequently to hear it in the publick Offices of the Church, and elsewhere: From whence I am apt to think Mr. Pope 's Opinion is not to be subscrib'd to, when he says, " And what now Chaucer is, shall Dryden be ." It did not occur to that ingenious Writer, that the State of the English Language is very different at this time from what it was in Chaucer 's Days: It was then in its Infancy: And even the publick Worship of God was in a foreign Tongue , a thing as fatal to the Language of any Country, as to Religion itself. But now we have all that Service in the vernacular Tongue; and besides that, the Bible in English , which may be properly called the Standard of our Language: For this Book contains a Variety of every kind of Stile , the Poetick , the Historick , the Narrative , and all framed after the manner of the most learned Tongues. So that whilst this Book continues to be as publickly used among us as it is at present, the English Language cannot receive any great Alteration; but all sorts of learned Men may write, either in Verse or Prose, in the most learned manner in their native Tongue, and at the same time be perfectly understood by the common People. Indeed, if ever we should be so unhappy as to be depriv'd [page 83] of the publick Use of that Book , all that came with it, must go with it; and then Farewel the English Language , Farewel Milton , Farewel Learning , and Farewel all that distinguishes Man from Beasts. Decemb. 9. 1736. I am , Sir , &c. FINIS. Transcriber's Note LETTER I.: Page 3: Superfluous opening quotes removed from "Subject-matter LETTER V.: Page 42: Section numbered "3." in original; changed to "III" for consistency. LETTER X.: Page 79: corrected typo: 'primns' changed to 'primus' return return *** END OF THE PROJECT GUTENBERG EBOOK LETTERS CONCERNING POETICAL TRANSLATIONS *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law 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. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. 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