ON THE HOMER TRANSLATIONS
OF HOBBES AND POPE
According
to Prof. Miklós Péti of Károli Gáspár
University in Budapest, writing in the Bryn
Mawr Classical Review for 2009.06.10, Thomas Hobbes' Homer translations "have
not been able to stand the test of time". He says that "the first look into Hobbes' Homer has for the
majority of readers quickly proved to be the last". Its verse is so "drab" that
Alexander Pope rightly disdained it as "too mean for criticism". It will scarcely "be allotted the same
significance and attention as the great historical versions (Chapman's or
Pope's translations) have duly received."
I
find these statements astonishing. These
things are partly a matter of taste, so I would be glad not to get into a polemic. But I feel I should confess that I myself prefer Hobbes, for his superior accuracy, for his
tauter and nakeder English, and for his sturdier, more muscular, more musical
verse. (By "muscular" I mean
that when reading Hobbes, I imagine the poet on his feet , moving; whereas
Pope is always sitting immobile at a desk.)
The
accuracy is due to the fact that Hobbes, though often very careless, or free,
at least knew Greek incomparably better than almost anyone else; and he savored
it more. You can often notice him subtly miming even the word order. The other two traits are partly, as I said, a
matter of taste. What to some may seem
bald to me seems laconic and vivid. He
is specially good in speeches and soliloquies; for he had the rare talent
(which Homer himself had wonderfully, but Chapman or Pope not at all) of attaching
all his periods to what Robert Frost used to call "live sentence
sounds". That is, he imagines tones
and rhythms that men and women, in moments of passion or deep thought, do
actually use; whereas Pope or Chapman efface them with the sing-song, the odious tick-tock, of rhymed couplets. I give one brief
example, that of Odysseus praying to the unknown god of the river, at Odyssey 5, 443 ff.:
CHAPMAN:
The flood he knew, and thus in heart implores:
"King of this river, hear! Whatever name
Makes thee invok'd, to thee I humbly frame
My flight from Neptune's furies. Reverend is
To all the ever-living Deities
What erring man soever seeks their aid.
To thy both flood and knees a man dismay'd
With varied suff'rance sues. Yield then some rest
To him that is thy suppliant profess'd."
This, though but spoke in thought, the Godhead heard (etc.)
HOBBES:
And here Ulysses
thought fit to go in.
And in his mind unto
the River spake:
"Hear me, O king, from Neptune’s rage
I fly,
And of a man
distress’d some pity take,
That at your knee and
stream here prostrate lie;
Th’ immortal Gods
their suppliants respect,
When they before them
humbly lay their want;
Whate’er your name be,
do not me neglect
That am afflicted, and
your suppliant.""
This said, the stream stood still and
sav’d the man.
POPE:
To this calm port the
glad Ulysses press'd,
And hail'd the river,
and its god address'd:
"Whoe'er thou art, before whose
stream unknown
I bend, a suppliant at
thy watery throne,
Hear, azure king! nor
let me fly in vain
To thee from Neptune
and the raging main
Heaven hears and
pities hapless men like me,
For sacred even to
gods is misery:
Let then thy waters
give the weary rest,
And save a suppliant,
and a man distress'd."
He pray'd, and straight the gentle stream
subsides,
Detains the rushing
current of his tides.
Each version has a touch of charm, e.g. Chapman's "What erring man soever
seeks their aid", and Pope's "azure King". But after all, at a terrible moment like this,
no man, woman or child says "Whatever frame / makes thee invok'd, to thee
I humbly frame / My flight from Neptune's furies" etc. Still less did anyone ever pray,
"Whoe'er thou art, before whose stream unknown / I bend a suppliant at thy
watery throne" etc. Instead we'd
say like Hobbes, "Hear me, O king, from Neptune's rage I fly"
etc. And for the prayer's result,
Hobbes' laconic, "This said, the stream stood still and sav'd the
man" catches the magical rapidity and quietness it has in Homer.
His
rhyme-scheme of ABBA CDDC etc. is a far apter thing for Homer than
couplets. It is not immobile, self-conscious, self-conceited (traits utterly alien to Homer) but keeps forming
unobtrusive mobile stanzas, that expand or contract, so to speak, to any needed
length. As Coleridge said, "the
ears of these couplet-writers might be charged with having short memories, that
could not retain the harmony of whole passages", and Hobbes'
subtler "stanzas" can. Also
they enable him at will to make chains of rough rhymes, which a
couplet-writer would not dare and which some may dislike, but which I love (e.g.
below, 433 ff. "wit... puts... spit... cuts...")
He
has of course poetic vices. Now and then
he omits a detail he should have kept, or impoverishes an image (e.g. the
'brand of fire' in 488, below), or writes a verse that is indeed bald and
mean etc. But such lapses
are rare; and I, at least, far prefer any of them to that worst vice of
self-conscious, overwrought verse, into which he alone hardly ever falls. His
chief fault is a far too frequent inversion of natural word order (as e.g.
above "do not me neglect"). One senses that he does that almost always from pure carelessness and a need
for rhyme; so although without excusing it, one forgives it.
But
I only wanted to say, briefly, what I think are my reasons for liking Hobbes
best, not to persuade anyone else to like him. So that you may decide for yourself,
I here juxtapose Hobbes' and Pope's versions of Odyssey 5.262-293. (I would
gladly have included Chapman, whom I prefer to Pope, but for three the table is
not wide enough, and Pope is more famous!) I chose this passage just because it happens to be one that we
translated once ourselves, in a U.D. Homer class. That version is online at http://udallasclassics.org/studenttranslations.html,
and if you don't know Greek, you can use it to see Homer's own lineation (for
we made it one of our rules to retain that).
The
line numbers are those of the Greek. But
since Homer's Odyssey Book V has 493
verses, Hobbes's version of it 468 verses, and Pope's 636 verses, I could not put
the translations 'parallel' (so that you can compare them closely) without
stopping every 10 lines or so, so as to let the idler, Pope, finish his
digressions! Thus the Hobbes column is
full of large blank spaces. This is a
bit unfair to him, because it breaks up his tightly woven verse (often in
mid-stanza), but the gain seemed greater than the cost.
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Thomas Hobbes (1675)
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Alexander Pope (1725-6)
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Four days in making
of the raft he spent;
When he had done,
and all his work had wrought,
Upon the fifth the
nymph away him sent.
But first she bath’d
him, and with clothes array’d,
Fine and perfum’d.
Then wine of pleasant taste
One goat-skin full
upon the raft she laid,
And one of water,
greater, by it plac’d;
And sweetmeats, and
good flesh of ev’ry kind.
And after he his
sails had hoist and spread,
She fill’d them with
a warm and cheerful wind.
Then he astern sat
down and governed,
And on Bootes
look’d, and Pleiades,
And on the Bear,
which people call the Wain,
Which dogs Orion
rising from the seas,
But she herself
ne’er dives into the main.
This Bear she bade
him leave on the left hand.
Then sev’nteen days
he sail’d, on th’ 18th day
He came in sight of
the Phœacian land,
In that part where
it nearest to him lay,
Which look’d as
’twere upon the sea a skin.
But now by Neptune,
who returning was,
Ulysses’ raft from
Solymi was seen,
For o’er those
mountains Neptune was to pass;
Who, wounded at the
sight, with anger keen,
Thus said unto
himself: "What, what, I
find,
While I in Ethiopia
have been,
The Gods about this
man have chang’d their mind.
The isle Phœacia is
near at hand,
In which he destin’d
is himself to save.
But yet, I think,
before he be on land,
He struggle shall
with many a lusty wave."
Then with his
trident he the sea enraged,
And made a night of
clouds the sea upon,
And ’gainst Ulysses
all the Winds engaged,
And from their
quarters they came out each one,
Eurus, and Notus,
Zephyr, Boreas,
Each one a mighty
wave against him rolled.
And then Ulysses’
heart near broken was,
And with himself,
himself he thus condoled.
Ah me, what will
become of me at last!
I fear the nymph
Calypso all this knew,
Who told me then
that as I homeward pass’d
I should meet
danger. Now I find it true.
With what thick
clouds Jove cover’d has the sky!
In what a tumult is
the sea! And how
On ev’ry side the
winds the water ply
And storm! My death,
I see, is certain now.
Thrice, four times,
Argives, happy were you, who
For Agamemnon’s sake
were slain. Would I
At Troy in battle my
life lost had too,
I’ th’ show’r of
spears about Achilles’ body;
Then had I had a
noble funeral,
And great among the
Greeks had been my fame.
But now a wretched
death will me befal,
For ever will
unheard of be my name.
This said, he dash’d
was ’gainst a point of land,
Which with great
force whirled the raft about.
And then the rudder
flew out of his hand;
And he into the
water was cast out.
Of divers winds then
followed one great blast,
And sail and tackle
o’er-board far off bears,
And in the middle
breaks in two the mast,
While he was in the
sea o’er head and ears;
At last he rais’d
his head above the pickle,
(His heavy clothes
awhile had hindered him),
Then from his hair
into his mouth did trickle
The brine, which he
spits out, and falls to swim.
And when he had his
raft recovered,
And plac’d himself
i’ th’ midst, then both together
The wind uncertainly
them carried
From place to place,
now hither and now thither;
Just as the wind in
harvest blows pease-straw
Upon the plain field
whilst it holds together;
So on the sea
without a certain law
Ulysses’ raft was
driven by the weather.
In this distress by
Ino he was seen,
A sea-nymph and
immortal she was then,
Though woman,
Cadmus’ daughter, she had been.
And now in figure of
a water-hen
She sat upon the
raft and to him spake.
What meaneth Neptune
that he hates you so?
Do what he can your
life he shall not take;
Do what I bid you.
Off your garments throw,
And quit the raft;
and to Phœacia
Swim with your
hands, & there you shall find rest.
For so it is
ordain’d by fatal law.
Here, take this
scarf; apply it to your breast,
And fear not death.
But when you come to land
Throw’t in the sea
as far off as you can,
Then turn.
This said, she put it
in his hand,
And diving there
alone she left the man.
Ulysses grieving to
himself then says,
"What is it now
I am advis’d unto!
Ah me! Some other
God now me betrays
To quit my raft. I
know what I will do.
For since my refuge
is so near at hand,
Such counsel I will
not too soon obey;
But do what does
with greatest reason stand.
Upon my raft I mean
so long to stay
As it shall hold
together and be one.
But when the wind
has broken it in pieces
I’ll swim; since
better counsel I have none."
While with himself
consulting was Ulysses,
Neptune with wind
the water sets upright
Into a high and
formidable wave,
And threw it on the
raft with all his might,
Which all the parts
thereof asunder drave.
Just as the wind
scatters a cock of hay,
So scatter’d was
Ulysses’ raft of trees;
Whilst he on one of
them astride did stay,
And of his garments
there himself he frees.
Then Ino’s scarf
applies he to his breast,
And on the troubled
sea himself he laid
With open arms. To
swim he now thought best.
Which Neptune
seeing, thus unto him said:
"Go wander now
upon the sea in woe,
And do not make
account that this is all."
This said, away to
Ægæ did he go,
Where many men that
need him on him call.
When he was gone
Pallas the winds did lay,
All but a lusty gale
of Boreas,
And broke the waves
before him all the way,
That to Phœacia he
might safely pass.
Two nights and days
perpetual he swam,
And was of drowning
all the while afraid.
But when the morning
of the third day came,
The air was calm,
and all the winds allay’d.
And now unto the
isle he was so nigh,
That from a high
wave he could see the shore,
And glad he was. As
when about to die,
Lien has a man long
time by sickness sore,
Is by the Gods recover’d
suddenly,
Glad are his
children; so Ulysses was
To see the so-much
wish’d-for land so nigh,
And thither made
what haste he could to pass.
When he was gotten
so near to the shore
That one might hear
another when he calls,
Torn by the rocks he
heard the water roar.
(Loud is the sea
when on hard rocks it falls.)
There neither haven
was nor place to land,
But upright banks
and cliffs and brows of stone.
And everywhere too
deep it was to stand.
And now again quite was his courage gone,
And speaking to himself he said: "Ah me,
This is the island. Jove has brought me to’t,
That what must help me only I might see,
But not upon it ever set my foot.
There is no landing here. Rocks high and steep,
And unaccessible are all about.
The sea below so rugged is and deep,
That from it there will be no getting out.
If I should try, some mighty wave, I fear,
Against some rugged rock will carry me,
And make me find but woful landing there,
Amongst so many sharp stones as there be.
But if I swim along the coast to find
Some port or beach, though stormy, to land on,
I fear I shall again by some great wind
Far off from shore into the sea be blown;
And there by some great fish devoured be
(For many such are fed by Amphitrite)
Which Neptune may command to swallow me;
For well I am acquainted
with his spite."
While he thus doubted, came a mighty wave
That cast him to the
bank amongst sharp stones.
But for the counsel
Pallas to him gave,
He torn his skin and
broken had his bones.
A rocher with his
arms he then embrac’d,
And held it till the
wave roll’d back again;
And thought the
danger of it now was past,
But then the same
wave bore him to the main.
As looks a polypus when he is dragg’d
From out his hole, stuck full of stone & sands;
So, when Ulysses left his hold, were shagg’d
With broken skin all over both his hands.
And now, had not
Athena giv’n him wit,
He perish’d had. For
up his head he puts
Above the briny sea,
and having spit,
He with his
stretched arms the water cuts,
And swam along the
shore; but kept his eye
Continually upon the
land, to see
If any landing place
he could espy.
At last before a
river’s mouth came he;
And knew it was a
river’s mouth. For there
Within the land
smooth water might be seen,
And ’twixt the rocks
a pause there did appear;
And here Ulysses
thought fit to go in.
And in his mind unto
the River spake:
Hear me, O king,
from Neptune’s rage I fly,
And of a man
distress’d some pity take,
That at your knee
and stream here prostrate lie;
Th’ immortal Gods
their suppliants respect,
When they before
them humbly lay their want;
Whate’er your name
be, do not me neglect
That am afflicted,
and your suppliant.
This said, the
stream stood still and sav’d the man.
But weary were his
knees and arms, and brine
Abundance from his
mouth and nostrils ran,
And all his body
swell’d was. And in fine,
Speechless and
breathless was he, like one dead.
But when he came
unto himself again,
The scarf he to the
stream delivered,
Which carried it
again into the main.
And Ino took it then
into her hand.
Then on a
bulrush-bed himself he laid,
And, glad he had
escaped, kiss’d the land.
But fearing still,
unto himself he said,
"Ah me, what
will become of me at length!
For in the river if
I spend the night,
So much already
wasted is my strength,
With frost and dew I
shall be killed quite.
If up the hill I go
into the wood,
And in some thicket
there lie warm and sleep,
I fear I shall for
beasts and fowls be food."
At last concludes
into some wood to creep.
A wood there was
unto the river nigh;
Two thickets in it
were; of olive one,
The other was of
Phylia close by,
So twin’d they were
together that nor sun
Nor wind nor rain to
th’ ground could find a way.
Between them of dry
leaves a bed made he,
And over head and
ears there close he lay;
For leaves there were
enough for two or three,
To keep them warm
although cold weather ’twere.
As when a man takes
up a brand of fire
In country-house,
few neighbours dwelling near,
To warm himself
withal if need require;
So buried in dry
leaves Ulysses lay.
And then Athena
closed up his eyes
With sound and
gentle sleep to take away
Sad thoughts
suggested by his miseries.
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313
333
339
351
356
365
377
380
388
394
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408
424
430
436
441
445
451
463
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488
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Four days were pass'd, and now the work complete, And now, rejoicing in the prosperous gales, Full seventeen nights he cut the foaming way: "Heavens! how uncertain are the powers on
high! Leucothea saw, and pity touch'd her breast. 'Thou whom
heav'n decrees "What shall I do? unhappy me! who knows And now, two nights, and now two days were
pass'd, As pious children joy with vast delight And now, as near approaching as the sound
While thus he thought, a monstrous wave upbore Between the parting rocks at length he spied As some poor peasant, fated to reside
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*436 ff. 'As when
the Polypus' etc. In this passage Pope plainly purloins from
Hobbes. But notice also how much mere 'filler' Pope inserts, and how
fatuous it is. Elsewhere, using iron self-control, I refrain from
pointing to it; here I underlined it. You get closer to the Greek by just
erasing what in Pope I underlined. So e.g. where Hobbes has just,
And now, had not
Athena giv’n him wit,
He perish’d had.
(thus omitting δύστηνος
ὑπὲρ μόρον and γλαυκῶπις, but otherwise accurate), and Pope,
And now had
perish'd, whelm'd beneath the main,
The unhappy man; e'en
fate had been in vain;
But all-subduing
Pallas lent her power,
And prudence saved him in the needful hour.
what Homer has
is just,
ἔνθα κε δὴ δύστηνος
ὑπὲρ μόρον ὤλετ᾽ Ὀδυσσεύς,
εἰ μὴ ἐπιφροσύνην δῶκε γλαυκῶπις Ἀθήνη.
I.e. "And
there he would have perished, wretched beyond his lot, / had not grey-eyed
Athena given him wit". Hobbes perhaps should not have omitted the
two epithets; but that' is hard to say, because he thus catches Homer's
swiftness. Of those same two epithets Pope misinterprets one (i.e. "e'en
fate had been in vain" -- but ὑπὲρ μόρον merely modifies the adjective) and
ineptly changes the other: "all-subduing" = γλαυκῶπις. Faugh!
* * *
POSTSCRIPT: Coleridge on Hobbes'Translation
After writing all the above, I discovered two good remarks about Hobbes' translation by S. T. Coleridge, both of which seem worth quoting here, because Coleridge is often misrepresented as having disliked this translation. The date of both remarks is apparently 1818. The first is from The Friend, Essay IV ad fin., and is in the form of a footnote correcting a disdainful remark in the essay (The Friend, ed. by H. N. Coleridge; London: William Pickering, 1837, p. 35 note = The Friend, London: Edward Moxon & Co., 1863, p. 28 note); the second is from Letters, conversations, and recollections of S. T. Coleridge (Harper & Brothers: NY 1836, p. 203); it is said to be from notes to "a course of lectures" delivered in 1818:
At the time I wrote this essay [i.e. The Friend, Essay IV], and indeed till the present month, December, 1818, I had never seen Hobbes' translation of the Odyssey, which, I now find, is by no means to be spoken of contemptuously. It is doubtless as much too ballad-like, as the later versions [i.e. those of Pope, Dryden, et al.] are too epic; but still, on the whole, it leaves a much truer impression of the original [than those do].
Hobbes' Odyssey... homely as it is throughout, and too often vulgar, scarcely falls below the point more than the other translators strain above it. In easy flow of narration Hobbes has few rivals; and his metre in alternate rhyme is so smooth (negatively smooth, I mean), so lithe,without bone or muscle, that you soon forget that it is metre, and read on with the same kind and degree of interest as if it were a volume of the Arabian Nights.
Of course he is right about the homeliness, the occasional vulgarity, etc. But what matters most is which translation one enjoys the most; so I am glad to notice that, like me, Coleridge read none of them for pleasure except that of Hobbes!
.