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Stanza 1. 1, 2. Amid how pleasant banks, clear Dēvònă, Thou-windest (serpo), where the flower blooms for thee, the wood is-green (Poet. Orn. a).—3, 4. Yet the Ayr (Ară) broughtforth on its slopes once upon a time the bud (gemma) which alone (unus) outshines thy flowers.These lines must be transposed. • Tamen " belongs to line 3.

Stanza II. 1, 2. May the Sun kindly (almus) behold this sweetly-blushing bud (calyx), When the dewy dawn goes-forth with purple steeds.-3, 4. And ye, 0 vernal showers, descend gently, -renewed by which (queis) in the silent evening the leaf shines-fresh (niteo).

EXERCISE LXXII. (same continued).

O spare the dear blossom, ye Orient breezes,

With chill hoary wing as ye usher the dawn! And far be thou distant, thou reptile, that seizes

The verdure and pride of the garden and lawn! Let Bourbon exult in his gay gilded lilies,

And England triumphant display her proud rose; A fairer than either adorns the green valleys,

Where Devon, sweet Devon, meandering flows.

Stanza 1. 1, 2. Spare, I pray, the tender flower, thou breeze, which chill with hoary (pruinosus) wing art-present as the har binger (nuntia) of dawn.—"Aura" belongs to line 2.—3, 4. And far be-thou, O adder, which ravagest with destructive (rapax) tooth, all the pride (honor) that the gardens have, all that the field [has]. See Aids 1. h.

Stanza 11. 1, 2. Let the Bourbon (Borbonicus) kings boast (jacto) their golden lilies; exulting (lætus) England (Anglia), display thy triumphal roses.—3, 4. A fairer flow'ret than these, methinks, (mihi, Ethic Dat. Aids v.) adorns the green woodlands (saltus), Here where sweet Dēvònă meanders (ago mæandros).

mark is gone :


They dug his grave e’en where he lay,

Time's wasting hand has done away
The simple cross of Sybil Gray,

And broke her font of stone:
But yet out from the little hill
Oozes the slender springlet still :

Oft halts the stranger there;
For thence may best his curious eye
The memorable field descry;

And shepherd boys repair
To seek the water-flag and rush,
And rest them by the hazel-bush,

And plait their garlands fair :
Nor deem they sit upon
That holds the bones of Marmion brave.


the grave


1, 2. They laid the chief, where he fell, in the hollowed ground. Dost thou seek for traces (signum) of the spot? none remain left.—3—5. Destructive time (damnosa dies) has done away (deleo) the memorials of Sibylla ; and the fragments of the sacred marble lie here-and-there (rarus).—6–8. But e’en now (See Exercise XLIX. Stanza 11. 1) the slender spring oozes (stillo) from the little mound,—at which (quo) the wayfarer is often wont (amo, Aids iv. c.) to halt (gressus sisto).-9, 10. Whence with roving eye he may better admire the plains, and fields long (per longos dies) to be commemorated (part. in -dus).—11, 12. Moreover (nec minus) the shepherd boys (pubes pastoria) here gather bulrushes, and the lotos which floats sprung from the midst of the waters ; see Exercise LIV. 6.-13, 14. And whilst it delights them to stretch their limbs under the hazel's shade, Each one hastily-plaits (propero) fair garlands for his locks ;–15, 16. Nor do the boys remember (venit in mentem, impers. with dat.) in-what spot (sedes) they are lingering (subj.): How (ut) the soil covers the bones of the fearless chief.

Observe that "

cross ” and “font” are not literally translated, because it would be impossible to express them exactly in Classical Latin. Also observe how the English is adapted to the Elegiac distich, and not rendered strictly line for line. (Caution c). Observe too how “water-lily,” in line 12, is expanded.

EXERCISE LXXIV. (Strangford's Camoens).
Should I but live a little more,

Nor die beneath thy cold disdain,
These eyes shall see thy triumphs o'er,

Shall see the close of Beauty's reign.
For Time's transmuting hand shall turn

Thy locks of gold to silvery wires :
Those starry lamps shall cease to burn

As now, with more than heavenly fires :
Thy ripen'd cheek no longer wear

The ruddy blooms of rising Dawn;
And every tiny dimple there

In wrinkled lines be roughly drawn! Stanza I. 1, 2. If only the fates shall lengthen (produco) the threads of my life, And I shall not (ni-que) fall a mournful victim of thy disdain-3, 4. I myself shall see thee celebrate no triumphs ; Venus will at length cease to wield the sceptre (Poet. Orn. a).

Stanza 11. 1, 2. For Time with his touch will change (Poet. Orn. 8) the gold of thy head for silver, and will harden (rigidam do. Aids 1. a) its softness. Be careful how you use “muto” in line 1.–3, 4. The lamps (lychnus) that-shine with starry light shall cease (desuesco) To outshine (præradio), as now, the brightness (jubar) of heaven (adj.).

Stanza 111. 1, 2. Transpose the lines. No longer (non jam) shall thy cheeks be seen to blush softly (n. adj., used adverbially) with light that-rivals (æquo, part.) the gleaming beauties of the day-star.—“non jam,” in line 1.—3, 4. Where'er (sīcũbi) a smile forms (do) tiny dimples (lacuna) in thy face (Aids v.), soon wrinkles will come to furrow (quæ arent) thy body.

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EXERCISE LXXV. (same continued).

And oh! what showers of fruitless woe

Shall fall upon that fatal day!
How wilt thou weep the frequent “No!”

How mourn occasion past away!

Those vain regrets and useless sighs

Shall in my heart no pity move :
I'll deem them but a sacrifice

Due to the shade of buried Love!

Stanza 1. 1, 2. Oh, how sad marks of unavailing (nihil valiturus) grief, wilt thou often shed (es datura) tears on that day.—“Signa,” acc. in apposition to “lacrimas.”—3, 4. And thou wilt mourn that thou hast despised the vows of so many suitors ; and thou wilt weep the bygone (elapsus) days which are-lost.

Stanza 11. 1, 2. Nought shall thy regret (desiderium), nought shall thy sighs touch me: they shall not be able to rouse (moveo) sorrow in my heart.—3, 4. They (n. pl.) shall be poured forth over the tomb of our love ; thou shalt give them as sacrifices (inferiæ) to its Manes.

Observe how the frequent No,” is turned. Similar instances will be constantly met with.

The sun far Southward bends his annual way;

The bleak North-east wind lays the forest bare ; The fruit ungather'd quits the naked spray,

And dreary Winter reigns o’er earth and air. No mark of vegetable life is seen,

No bird to bird repeats his tuneful call, Save the dark leaves of some rude evergreen,

Save the lone red-breast on the moss-grown wall. Stanza 1. 1, 2. The annual sun seeks afar in his course the Southern shores; the blasts of the East-wind now rob the grove of its foliage (frons, sing.).—3, 4. The fruits ungathered (sponte suâ) drop from the bare tree; gloomy Winter reigns o'er (teneo) the fields and sky alike.

Stanza 11. 1, 2. All the ground is-lifeless (torpeo, perf.): in vain will you seek for herbage (Poet. Orn. 8): bird sings not to bird with answering (alternus) song.-3, 4. The dark laurel only (tantum) displays its hardy (vivax) leaves; and the thrush moans solitary (secum) on the moss-grown (sentus) citadel.

Observe in Stanza 1. 3 the turning of ungathered ; and how the English is broken up in Stanza 11. 1.

EXERCISE LXXVII. (same continued).

Where are the sprightly prospects Spring supplied,

The may-flower'd hedges scenting every breeze? The white flocks scattering o'er the mountain's side,

The wood-lark's warbling on the blooming trees ? Where is brown Autumn's evening mild and still,

What time the ripen'd corn fresh fragrance yields, What time the village peoples all the hill,

And loud shouts echo o'er the harvest fields ?

Stanza 1. 1, 2. Where now is the glory (honos) of Spring ? where the sweet prospect ? (rerum imago. See Exercise LIX. note): And the scented (non inodorus, Aids 11. 1) breeze from the white thorns ?-3, 4. Where now wander the herds which shone bright upon the hill-tops, and the lark which sings through the shady grove ?

Stanza 11. 1, 2. The mild evening is-gone (absum), and the stillness (otia) of brown autumn, when the ripe corn-field is fragrant with fresh (novus) perfume.—3, 4. What time (tempore quo) the village throngs the slopes (declive) of the hill, and the clear voice resounds far and wide over the mown (tonsus) fields.

Observe in Stanza I. 1 how the English is broken up.

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