proper name, to take a different. I proceeded in this manner both with greater ease and greater success. I found this new method answer so well that I soon began to vary my measure, even where I was not forced to it, and merely for the sake of preventing the reader's ear from being palled by the long continuance of any one measure. I was the more encouraged to adopt this principle, from having observed the enlivening effect of Shakespeare's intermixture even of prose with his verse, and the soporific effect of Milton's interminable decasyllabics. Cheered by the first results of this method, I went much further; I abandoned the old measures and set about to make new; and, after some trials, fell upon a measure (as far as I know, entirely new and my own invention) which enabled me to convey into English the Virgilian sense, with a certainty and precision, and at the same time with an ease and fluency, wholly unattainable in any other measure or combination of measures. I have used this measure very much in the course of my translation, but principally in the fifth Book, to the liveliness of the subject of which, its liveliness seemed to be peculiarly adapted. The fourth Book alone I have not changed out of the Iambic measure, having translated that Book only twice (both times in Iambic); each of the other Books I have translated three, some of them four, times.

On account of the great variety and continual change of measure, I have thought it advisable to indicate the rythm by means of accents. It is much to be desired that even ordinary poetry were always printed with such helps, without which it is impossible for any one who has not a well practised poetical ear, to know where the ictus of the voice falls, in any measure which deviates, even in the slightest degree, from the accustomed jingle.

It will, no doubt, be said that my work is not a translation at all. Very well; I have no objection.

I have not called it a translation myself, and am not desirous it should be so called. There is nothing so very flattering in the reputation of translations that I should be anxious to have my work placed in the same category with them. My Six Photographs of the Heroic Times will be found in a volume containing all the poems written by me up to this date, and printed two months ago in Dresden under the title of My Book.

I am too well aware of the utter neglect with which authors of works of this kind are usually treated by their contemporaries, to suppose that there lives one individual who will trouble himself to inquire who, or what kind of a man, he is who writes these words, and who made this singular voyage; but for the information of the many who are sure, according to the usual fashion of mankind in such cases, to begin, as soon as he is dead, to inquire who and what sort of a man he was, I beg to say that most of the important incidents of his life will be found more or less distinctly pictured in the poems which collectively with the Six Photographs of the Heroic Times constitute the volume entitled My Book, and printed this summer in Dresden.

Warned by the misfortunes of others that a work like this, is neither of the kind voluntarily demanded by the public, nor of the kind forced on the public by that curse and ruin of literature, the Bookselling Trade, I have determined, instead of flinging my work into the barathrum of a publisher's warehouse, to leave a certain number of copies both of this Voyage and of My Book with Mr. Klemm, Oberbibliothekar of the Royal Library at Dresden, for gratis distribution to such persons in Germany as he shall think fitting, and to send the remainder home, for similar gratuitous distribution in my own country. Both from Mr. Klemm himself, and from Mr. Lossnitzer, Mr. Manitius, and the other

officers of the Dresden Library, I have met the most uniform and obliging attention, for which I beg to return my best thanks. In the Dresden Library and in the company of its enlightened directors and officers, have been spent during a series of years many of my happiest hours. I shall never think of it or them but with pleasure and gratitude.

I am indebted to Mr. Moritz Lindemann, author of De prima quae in Convivio Platonico legitur oratione (Programm des Gymnasiums zu Dresden, 1853), not merely for a most careful correction of the printer's proofs, but for many valuable suggestions, and such a general revision of my MS. as has greatly contributed to its accuracy and perfection.

And now "longarum haec meta viarum"

this

is the end of my long voyage, and a happier end than that of the voyage of Eneas; for he, just at the goal, lost his travel's companion him who was the "levamen omnis curae casusque" while I have still my fellow traveller at my side, only the more endeared to me, as I to her, by the troubles and pleasures we have shared together on the way. Reader, farewell; and should you be inclined to make a similar voyage through the six Books which I have left unexplored, the greatest happiness and best help which I can wish you, is a similar companion.

WAISENHAUS-STRASSE, DRESDEN,

July, 1853.

JAMES HENRY.

I.

1.

ILLE EGO QUI QUONDAM GRACILI MODULATUS AVENA

CARMEN ET EGRESSUS SILVIS VICINA COEGI

UT QUAMVIS AVIDO PARERENT ARVA COLONO

GRATUM OPUS AGRICOLIS AT NUNC HORRENTIA MARTIS
ARMA VIRUMQUE CANO

IMITATED both by Spenser and Milton:

"Lo! I, the man whose muse whylome did maske,
As time her taught, in lowly shepheard's weeds,
Am now enforst a farre unfitter taske,
For trumpels sterne to chaunge mine oaten reeds,
And sing of knights' and ladies' gentle deeds."

Faerie Queene, st. I.

"I who erewhile the happy garden sung."

4.

Par. Reg. v. I.

HORRENTIA MARTIS

ARMA VIRUMQUE CANO TROJÆ QUI PRIMUS AB ORIS

ITALIAM FATO PROFUGUS LAVINAQUE VENIT

LITTORA MULTUM ILLE ET TERRIS JACTATUS ET ALTO

VI SUPERUM SÆVÆ MEMOREM JUNONIS OB IRAM

MULTA QUOQUE ET BELLO PASSUS DUM CONDERET URBEM
INFERRETQUE DEOS LATIO

"CANTO l'armi pietose, e 'l Capitano,
Che 'l gran Sepolcro liberò di Cristo:

Molto egli oprò col senno, e con la mano,
Molto soffri nel glorioso acquisto ;

E in van l'Inferno a lui s' oppose, e in vano
S'armò," &c.

"O Musa, tu," &c.

TASSO. Gerus. Lib., I. 1.

And such, from the beginning to the end, is the Gerusalemme Liberata; a modernized copy, even to the single stones, of the Virgilian edifice.

HORRENTIA MARTIS ARMA. MARTIS joined with ARMA is not (as a hasty view has led some commentators to suppose) supererogatory; because arma is not a specific term, corresponding to the English arms, and, like it, applicable only to martial weapons, but a general term applicable to all kinds of implements, martial, agricultural (Georg. I. 160), nautical (En. V. 15), culinary (En. I. 181), &c. Martis is, therefore, a proper adjunct to arma, and in the present instance peculiarly proper, because it was incumbent on the poet well to distinguish between the arma, the subject of his present poem, and the arma of which he had treated in that former poem, to which, in the passage before us, he makes direct reference. Having formerly defined the arma of which he was then treating, as those, "quæ sint duris agrestibus - Queis sine nec potuere seri nec surgere messes" (Georg. I. 160), he now defines the arma which form his present theme, to be arma Martis (compare: En. I. 549, where bello is added to armis in order to show that armis means martial arms): hence, as from every observation which tends to shew the correctness of their diction, an additional argument in favour of the authenticity of the four introductory lines of the Eneis. For a further argument, derived from the same source, see Comm. En. II. 247.

Additional observations on the use of the term arma will be found in Comm. En. V. 15.