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In this edition, the Imitations of Horace with the Epistle to Arbuthnot, • and the two Epilogues, are, to avoid confusion, numbered continuously with the collective title Satires and Epistles.
Date of PubOriginal Title.
lication. Epistle to Dr. Arbuthnot.
1735 First Satire of Second Book of Horace imitated.
1733 Second Satire of Second Book of Horace imitated.
The imitation of Horace I. Satire 2, which has been excluded by its indecency from most of the editions of Pope's Works from Warburton's edition (1751) downwards, is not here given. And to enable this volume to be freely put into the hands of the young, a few words and lines have been omitted, their place being indicated by asterisks.
THE pieces collected in this volume were published by Pope singly, at various times during the five years from 1733 to 1738. When his Works were first collected, they were placed together in one volume, and entitled Satires and Epistles of Horace imitated. It is no paradox to say that these Imitations are among the most original of his writings. So entirely do they breathe the spirit of the age and country in which they were. · written, that they can be read without reference to the Latin model.
Our pleasure indeed is enhanced, and our admiration of the poetic skill raised, when we compare them with Horace, and note the ingenuity with which the English analogue is substituted in every instance for the Roman original. It may be said to be a perfect translation, the persons and things being transferred as well as the words. All translation from an ancient into a modern language involves some modernisation of the idea. It is the problem constantly before the translator, how far he shall carry this transformation. In the early part of the eighteenth century, many of the classical poets suffered translation into English verse upon this system. The aim was to modernise as much as possible. Dryden's Virgil and Pope's Homer were only attempts to bring Virgil and Homer not only into the language of the Town,' but into its modes of thought and expression. The translator followed the precedent of the stage, on which the Greek and Roman heroes appeared in perruque and silk stockings, the court dress of Versailles. In vain Boileau ridiculed the fashion, and (Art Poétique, 3. 118) forbade the dramatist peindre Caton galant, et Brutus dameret.' The limits of translation and imitation were not distinctly defined.