1、 第第 13 卷卷 伊尼亚德伊尼亚德 总目录总目录 百年哈佛 50 部经典 英文版 Harvard Classics 第 13 卷 伊尼亚德 2/547 第第 1 卷卷 富兰克林自传富兰克林自传 第第 2 卷卷 柏拉图对话录：辩解篇、菲多柏拉图对话录：辩解篇、菲多篇、克利多篇篇、克利多篇 第第 3 卷卷 培根论说文集及新阿特兰蒂斯培根论说文集及新阿特兰蒂斯 第第 4 卷卷 约翰米尔顿英文诗全集约翰米尔顿英文诗全集 第第 5 卷卷 爱默生文集爱默生文集 第第 6 卷卷 伯恩斯诗歌集伯恩斯诗歌集 第第 7 卷卷 圣奥古斯丁忏悔录圣奥古斯丁忏悔录 第第 8 卷卷 希腊戏剧希腊戏剧 第第 9 卷卷 论
2、友谊、论老年及书信集论友谊、论老年及书信集 第第 10 卷卷 国富论国富论 第第 11 卷卷 物种起源论物种起源论 第第 12 卷卷 普卢塔克比较列传普卢塔克比较列传 第第 13 卷卷 伊尼亚德伊尼亚德 第第 14 卷卷 唐吉坷德唐吉坷德 第第 15 卷卷 天路历程天路历程 第第 16 卷卷 天方夜谭天方夜谭 百年哈佛 50 部经典 英文版 Harvard Classics 第 13 卷 伊尼亚德 3/547 第第 17 卷卷 民间传说与预言民间传说与预言 第第 18 卷卷 英国现代戏剧英国现代戏剧 第第 19 卷卷 浮士德浮士德 第第 20 卷卷 神曲神曲 第第 21 卷卷 许婚的爱人许婚的
3、爱人 第第 22 卷卷 奥德赛奥德赛 第第 23 卷卷 两年水手生涯两年水手生涯 第第 24 卷卷 伯克文集伯克文集 第第 25 卷卷 穆勒文集穆勒文集 第第 26 卷卷 欧洲大陆戏剧欧洲大陆戏剧 第第 27 卷卷 英国名家随笔英国名家随笔 第第 28 卷卷 英国与美国名家随笔英国与美国名家随笔 第第 29 卷卷 比格尔号上的旅行比格尔号上的旅行 第第 30 卷卷 科学论文集：物理学、化学、科学论文集：物理学、化学、天文学、地质学天文学、地质学 第第 31 卷卷 切利尼自传切利尼自传 第第 32 卷卷 文学和哲学名家随笔文学和哲学名家随笔 百年哈佛 50 部经典 英文版 Harvard Cla
4、ssics 第 13 卷 伊尼亚德 4/547 第第33卷卷 古代与现代著名航海与旅行记古代与现代著名航海与旅行记 第第 34 卷卷 法国和英国著名哲学家法国和英国著名哲学家 第第 35 卷卷 见闻与传奇见闻与传奇 第第 36 卷卷 君王论君王论 第第 37 卷卷 17、18 世纪英国著名哲学家世纪英国著名哲学家 第第 38 卷卷 物理学、医学、外科学和地质物理学、医学、外科学和地质学学 第第 39 卷卷 著名之前言和序言著名之前言和序言 第第 40 卷卷 英文诗集（卷）从乔叟到格英文诗集（卷）从乔叟到格雷雷 第第 41 卷卷 英文诗集（卷）从科林斯到英文诗集（卷）从科林斯到费兹杰拉德费兹杰拉
5、德 第第 42 卷卷 英文诗集（卷）从丁尼生到英文诗集（卷）从丁尼生到惠特曼惠特曼 第第 43 卷卷 10001904 第第 44 卷卷 圣书圣书(卷一卷一):孔子孔子 希伯来书希伯来书 基基督圣经督圣经()第第 45 卷卷 圣书圣书(卷二卷二)基督圣经基督圣经()百年哈佛 50 部经典 英文版 Harvard Classics 第 13 卷 伊尼亚德 5/547 第第 46 卷卷 伊丽莎白时期戏剧（卷）伊丽莎白时期戏剧（卷）第第 47 卷卷 伊丽莎白时期戏剧（卷）伊丽莎白时期戏剧（卷）第第 48 卷卷 帕斯卡文集帕斯卡文集 第第 49 卷卷 史诗与传说史诗与传说 第第 50 卷卷 哈佛经典讲
6、座哈佛经典讲座 百年哈佛 50 部经典 英文版 Harvard Classics 第 13 卷 伊尼亚德 6/547 第第 13 卷卷 伊尼亚德伊尼亚德 INTRODUCTORY NOTE PUBLIUS VERGILIUS MARO,the friend of Augustus and the great representative poet of the first age of the Roman Empire,was a man of humble origin.Born Oct.15,B.C.70,the son of a small farmer near Mantua in N
7、orthern Italy,he was educated at Cremona,Milan,and Rome.Probably as a result of the turmoil of the Civil Wars,Virgil seems to have returned to his native district,where he was engaged for some time in writing his“Eclogues.”Though he was never a soldier,and though there is no evidence of his having t
8、aken any part in politics,he suffered severely from the results of the wars.His fathers farm lay within the territory which was confiscated by the Triumvirs for the purpose of bestowing grants of land upon their soldiers,and Virgil succeeded in having it restored only through the personal interventi
9、on of Octavianus,the future emperor.But a change of governors deprived him of protection,and he was forced to desert his heritage in peril of death,escaping only by swimming the river Mincio.The rest of his life was spent farther south,in Rome,Naples,Sicily,and elsewhere.As he gained reputation he b
10、ecame the possessor of a large fortune,bestowed upon him by the generosity of friends and patrons,the most distinguished of whom,apart from Augustus,was Mcenas,the center of the literary society of the day.The“Eclogues”had been finished in B.C.37,and in B.C.30 he published his great poem on farming,
11、the“Georgics.”It is characteristic of his laborious method of composition that this work of little more than 2,000 lines occupied him for seven years.The completion of the“Georgics”established Virgils position as the chief poet of his time;and at this momentous date,when,the Civil Wars over,the vict
12、orious Augustus was laying the foundations of imperial 百年哈佛 50 部经典 英文版 Harvard Classics 第 13 卷 伊尼亚德 7/547 government,the poem which was to be the supreme expression of the national life was begun.At the end of eleven years Virgil had written the whole of the“neid,”and planned to devote three more to
13、 its final revision.But this revision was never accomplished,for returning from Athens with Augustus in B.C.19,he was seized with illness and died on September 21.He was buried at Naples,where his tomb was long a place of religious pilgrimage.The modern appreciation of the“Iliad”and the“Odyssey”has
14、tended to carry with it a depreciation of the“neid,”the spirit of which appeals less forcibly to the taste of our time.But it is foolish to lose sight of the splendor of a poet who,for nearly two thousand years,has been one of the most powerful factors in European culture.“The concurrent testimony o
15、f the most refined minds of all times,”says one of the finest of his critics,“marks him out as one of the greatest masters of the language which touches the heart or moves the manlier sensibilities,who has ever lived.A mature and mellow truth of sentiment,a conformity to the deeper experiences of li
16、fe in every age,a fine humanity as well as a generous elevation of feeling,and some magical charm of music in his words,have enabled them to serve many minds in many ages as a symbol of some swelling thought or overmastering emotion,the force and meaning of which they could scarcely define to themse
17、lves.”The subtler elements of the exquisite style of Virgil no translator can ever hope to reproduce;but Dryden was a master of English versification,and the content of Virgils epic is here rendered in vigorous and nervous couplets.“Despite many revolutions of public taste,”says Professor Noyes,Dryd
18、ens latest editor,“Drydens Virgil still remains practically without a rival as the standard translation of the greatest Roman poet;the only one that,like two or three versions of Homer,has become an English classic.”Drydens“Dedication”is an excellent example of his prose style,百年哈佛 50 部经典 英文版 Harvar
19、d Classics 第 13 卷 伊尼亚德 8/547 and gives an interesting view of the method and standpoint of the greatest of English seventeenth century critics.TO THE MOST HONORABLE JOHN，LORD MARQUIS OF NORMANBY EARL OF MULGRAVE，&C.AND KNIGHT OF THE MOST NOBLE ORDER OF THE GARTER AHEROIC poem,truly such,is undoubted
20、ly the greatest work which the soul of man is capable to perform.The design of it is to form the mind to heroic virtue by example.Tis conveyd in verse,that it may delight,while it instructs:the action of it is always one,entire,and great.The least and most trivial episodes,or underactions,which are
21、interwoven in it,are parts either necessary or convenient to carry on the main design;either so necessary,that,without them,the poem must be imperfect,or so convenient,that no others can be imagind more suitable to the place in which they are.There is nothing to be left void in a firm building;even
22、the cavities ought not to be filld with rubbish,(which is of a perishable kind,destructive to the strength,)but with brick or stone,tho of less pieces,yet of the same nature,and fitted to the crannies.Even the least portions of them must be of the epic kind:all things must be grave,majestical,and su
23、blime;nothing of a foreign nature,like the trifling novels which Ariosto and others have inserted in their poems;by which the reader is misled into another sort of pleasure,opposite to that which is designd in an epic poem.One raises the soul,and hardens it to virtue;the other softens it again,and u
24、nbends it into vice.One conduces to the poets aim,the completing of his work,which he is driving on,laboring and hastning in every line;the other slackens his pace,diverts him from his way,and locks him up,like a knight-errant,in an enchanted castle,when he should be pursuing his first adventure.Sta
25、tius,as Bossu has well observd,was ambitious of trying his strength with his master Virgil,as Virgil had before tried his with Homer.The Grecian gave the two Romans an example,in the games which were celebrated at the funerals of Patroclus.Virgil imitated the invention of Homer,but changd the sports
26、.But both the Greek and 百年哈佛 50 部经典 英文版 Harvard Classics 第 13 卷 伊尼亚德 9/547 Latin poet took their occasions from the subject;tho to confess the truth,they were both ornamental,or at best convenient parts of it,rather than of necessity arising from it.Statius,who,thro his whole poem,is noted for want
27、of conduct and judgment,instead of staying,as he might have done,for the death of Capaneus,Hippomedon,Tydeus,or some other of his seven champions,(who are heroes all alike),or more properly for the tragical end of the two brothers,whose exequies the next successor had leisure to perform when the sie
28、ge was raisd,and in the interval betwixt the poets first action and his second,went out of his way,as it were on prepense malice,to commit a fault.For he took his opportunity to kill a royal infant by the means of a serpent(that author of all evil),to make way for those funeral honors which he inten
29、ded for him.Now if this innocent had been of any relation to his Thebais;if he had either fartherd or hinderd the taking of the town;the poet might have found some sorry excuse at least,for detaining the reader from the promisd siege.On these terms,this Capaneus of a poet ingagd his two immortal pre
30、decessors;and his success was answerable to his enterprise If this economy must be observd in the minutest parts of an epic poem,which,to a common reader,seem to be detachd from the body,and almost independent of it;what soul,tho sent into the world with great advantages of nature,cultivated with th
31、e liberal arts and sciences,conversant with histories of the dead,and enrichd with observations of the living,can be sufficient to inform the whole body of so great a work?I touch here but transiently,without any strict method,on some few of those many rules of imitating nature which Aristotle drew
32、from Homers Iliads and Odysses,and which he fitted to the drama;furnishing himself also with observations from the practice of the theater when it flourishd under schylus,Euripides,and Sophocles:for the original of the stage was from the epic poem.Narration,doubtless,preceded acting,and gave laws to
33、 it;what at first was told artfully,was,in process of time,百年哈佛 50 部经典 英文版 Harvard Classics 第 13 卷 伊尼亚德 10/547 represented gracefully to the sight and hearing.Those episodes of Homer which were proper for the stage,the poets amplified each into an action;out of his limbs they formd their bodies;what
34、 he had contracted,they enlargd;out of one Hercules were made infinite of pigmies,yet all endued with human souls;for from him,their great creator,they have each of them the divin particulam aur.They flowd from him at first,and are at last resolvd into him.Nor were they only animated by him,but thei
35、r measure and symmetry was owing to him.His one,entire,and great action was copied by them according to the proportions of the drama.If he finishd his orb within the year,if sufficd to teach them,that their action being less,and being also less diversified with incidents,their orb,of consequence,mus
36、t be circumscrib d in a less compass,which they reducd within the limits either of a natural or an artificial day;so that,as he taught them to amplify what he had shortend,by the same rule,applied the contrary way,he taught them to shorten what he had amplified.Tragedy is the miniature of human life
37、;an epic poem is the draught at length.Here,my Lord,I must contract also;for,before I was aware,I was almost running into a long digression,to prove that there is no such absolute necessity that the time of a stage action should so strictly be confind to twenty-four hours as never to exceed them,for
38、 which Aristotle contends,and the Grecian stage has practicd.Some longer space,on some occasions,I think,may be allowd,especially for the English theater,which requires more variety of incidents than the French.Corneille himself,after long practice,was inclind to think that the time allotted by the
39、ancients was too short to raise and finish a great action:and better a mechanic rule were stretchd or broken,than a great beauty were omitted.To raise,and afterwards to calm the passions,to purge the souls from pride,by the examples of human miseries,which befall the greatest;in few words,to expel a
40、rrogance,and introduce compassion,are the great effects of tragedy;great,I must confess,if they were altogether 百年哈佛 50 部经典 英文版 Harvard Classics 第 13 卷 伊尼亚德 11/547 as true as they are pompous.But are habits to be introducd at three hours warning?Are radical diseases so suddenly remov d?A mountebank
41、may promise such a cure,but a skilful physician will not undertake it.An epic poem is not in so much haste;it works leisurely;the changes which it makes are slow;but the cure is likely to be more perfect.The effects of tragedy,as I said,are too violent to be lasting.If it be answerd that,for this re
42、ason,tragedies are often to be seen,and the dose to be repeated,this is tacitly to confess that there is more virtue in one heroic poem than in many tragedies.A man is humbled one day,and his pride returns the next.Chymical medicines are observd to relieve oftner than to cure;for tis the nature of s
43、pirits to make swift impressions,but not deep.Galenical decoctions,to which I may properly compare an epic poem,have more of body in them;they work by their substance and their weight.It is one reason of Aristotles to prove that tragedy is the more noble,because it turns in a shorter compass;the who
44、le action being circumscribd within the space of four-and-twenty hours.He might prove as well that a mushroom is to be preferrd before a peach,because it shoots up in the compass of a night.A chariot may be driven round the pillar in less space than a large machine,because the bulk is not so great.I
45、s the Moon a more noble planet than Saturn,because she makes her revolution in less than thirty days,and he in little less than thirty years?Both their orbs are in proportion to their several magnitudes;and consequently the quickness or slowness of their motion,and the time of their circumvolutions,
46、is no argument of the greater or less perfection.And,besides,what virtue is there in a tragedy which is not containd in an epic poem,where pride is humbled,virtue rewarded,and vice punishd;and those more amply treated than the narrowness of the drama can admit?The shining quality of an epic hero,his
47、 magnanimity,his constancy,his patience,his piety,or whatever characteristical virtue his poet gives him,raises first our admiration.We are naturally prone to imitate what we 百年哈佛 50 部经典 英文版 Harvard Classics 第 13 卷 伊尼亚德 12/547 admire;and frequent acts produce a habit.If the heros chief quality be vi
48、cious,as,for example,the choler and obstinate desire of vengeance in Achilles,yet the moral is instructive:and,besides,we are informd in the very proposition of the Iliads that this anger was pernicious;that it brought a thousand ills on the Grecian camp.The courage of Achilles is proposd to imitati
49、on,not his pride and disobedience to his general,nor his brutal cruelty to his dead enemy,nor the selling his body to his father.We abhor these actions while we read them;and what we abhor we never imitate.The poet only shews them,like rocks or quicksands,to be shunnd.By this example the critics hav
50、e concluded that it is not necessary the manners of the hero should be virtuous.They are poetically good,if they are of a piece:tho,where a character of perfect virtue is set before us,tis more lovely;for there the whole hero is to be imitated.This is the neas of our author;this is that idea of perf
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