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After opening his poem in this jovial strain, he changes the subject immediately to the usual topics of the Arabian bards. He complains of the departure of his mistress, whose beauties he delineates with a boldness and energy highly characteristic of unpolished manners. The rest of his work consists of menaces, vaunts, and exaggerated eulogies on his own tribe. We will give the concluding extract of Amru's poem:

“ Ours is the world, and all its riches ours;
None dares resist us 'midst Arabia's powers :
None dares controul—if any vainly try
To chain our freedom, from the yoke we fly:
None dares rebuke our valour as unjust,
Else the rash sland'rer should repent in dust;
One chief we own, and when that chieftain's son
Swears to maintain the name his sire has won,
In such frank fealty as becomes the free,
We bend, and make the nations bend the knee.
Still will we pour our warriors o'er the plain,
And still our ships shall rule the boundless main."

When Amru had finished his extravagant panegyric on the tribe of Tagleb, and had received the loud applause of his own party, Hareth arose, and pronounced the last of the poems before us. This speech in verse he delivered, according to some authors, without any premeditation ; but others assert, with greater appearance of probability, that he had prepared and committed it to memory. Although, if we believe one of his commentators, the poet was considerably above one hundred years old at this time, yet he is said to have poured forth his couplets with such energy, that without perceiving it, he cut his hand with the string of his bow, on which, after the manner of the Arabian orators, he leaned while he was speaking.

He thus addresses his impetuous opponent, whose calumnious aspersions had roused the old warrior's indignation :

“ Oh! thou adorner of a slanderous tale,
What can thy lies in Amru's court avail;
Think not thy varnish'd falsehood can do more
Than envious hosts have vainly tried before:
Still have we flourish’d, spite of slander's aim,
While glory crown'd our pantings after fame;
Long have the tribes, through Envy's shades of night,
Seen and been dazzled by our glory's light:
Fate, on a lofty rock has fixed our seat,
Where sunshine settles, and whence clouds retreat ;

Firm is its base, its summit seeks the skies,
O'erlooks the storm, and all its rage defies.”

We shall now conclude, with the hope that we may succeed in calling some degree of attention to the poetry of this long neglected language; and our conviction, that all who have devoted themselves to its study will fully agree in our opinion of its high merit.

Art. XII.The Thirteen Bookes of Aeneidos. The first twelve

being the worke of the Divine Poét Virgil Maro; and the thirteenth the Supplement of Maphaus Vegius. Translated into English Verse, to the first third part of the tenth Booke, by Thomas Phaer, Esquire : and the residue finished, and now newly set forh, for the delight of such as are studious in Poetry, by Thomas Twyne, Doctor in Physike. London, printed by Bernard Alsop, by the Assignement of Clement Knight. 4to. 1620.

An English translation of the Æneid, which, for at least half a century, maintained its rank as the most popular version of one of the greatest productions of the epic muse, cannot but be an object of some interest to the lover of poetry; since, though it has been repeatedly superseded by the labours of more polished bards during the last two hundred years, it must at least afford amusement to trace the circumstances which gave to the production of Phaer and Twyne that degree of favour with the public, which may be inferred from the repeated impressions it underwent.

Phaer, who was in every respect the principal partner in this literary concern, has been erroneously stiled the first Enlish translator of Virgil.* This is a title to which he is far from having a claim. For, besides Caxton's work in prose, intitled The Book of Ænæidos, compiled from Virgil, there were no less than two partial attempts to make the English reader acquainted with the Roman epic, and one complete version of the poem, not only written, but actually printed before Phaer entered on his task. Gawen Douglas, who finished his metrical translation of the Æneid in 1515, must certainly be allowed the

* See Chalmers's edition of the General Biographical Dictionary.Art. Phaer.

honour of having been the earliest British translator of Virgil ; for the work of Caxton, just alluded to, is merely a garbled and imperfect compendium of the Roman poet's narrative ; derived, not from the original, but from a French version. Douglas's work is in heroic verse; and is said, by Warton, to be executed with equal spirit and fidelity. It comprises the addition to the Æneid, by Maphæus, usually termed the thirteenth book. The first edition was printed by W. Copland, London, 1553, 4to. Henry Howard, Earl of Surrey, who fell a victim to the cruel jealousy of his sovereign, in 1547, was probably the next poet who employed himself in giving an English garb to the heroic muse of Virgil. He translated into blank verse the second and fourth books of the Æneid, and is considered as the first English poet who employed that species of metre since immortalized by the productions of MiltonSir Thomas Wyat, the contemporary and friend of Surrey, also exercised his abilities in transfusing the beauties of Virgil into his native language. His labours were confined to the song of Jopas, towards the conclusion of the first book of the Æneid, which he rendered into Alexandrian verse.

After these adventurers came Phaer; of whom, with reference to his rank, as a classical translator, it can only be said, that he was the first native of South Britain, who appears to have projected an entire version of the Æneid, which death probably prevented him from finishing, as he was occupied in the undertaking at the time of his decease. To this production Phaer chiefly owes the preservation of his name in the records of literature, though he seems to have possessed considerable versatility of talent; and, besides some publications of original poetry, he presented the world with treatises on law and medicine, in the study of which sciences he had, at different periods of his life, been professionally engaged. He was a native of Pembrokeshire, and received his education at Oxford, whence he is supposed, by Wood, to have gone to Lincoln's-inn and engaged in the study of municipal jurisprudence. On that subject he wrote two treatises. After which it seems he renounced his legal pursuits ; and, returning to Oxford, studied physic, and took his degree of Doctor of Medicine. His medical works were esteemed by his contemporaries; but he made no discoveries in that science, nor does he possess any claim to notice as an original writer. He appears to have practised physic in London till towards the latter part of his life, when he retired to Kilgerran, in South Wales. In the title page of the first edition of his translation of Virgil, Phaer stiles himself Solicitor to the King and Queen's Majesties, attending on their

honourable council in the Marches of Wales, an office which seems to imply that he resumed his first profession. He died at Kilgerran in 1560.

Phaer wrote some original poetry, but it deserves no particular notice. The piece which is best known, relates to the misfortunes of Owen Glendower, and forms a part of the Mirror for Magistrates, in the first and two subsequent editions of that collection of Poetical Narratives. A specimen of Phaer's composition is given by Mr. Bliss, in his recent publication of Wood's Athena Oxonienses.

The first seven books of the Æneid were published during the life of the translator, in 1558, with a dedication to Queen Mary; in which he informs us, that he was brought up under the patronage of William Marquis of Winchester. He continued his undertaking; and before his death, in 1560, had proceeded as far as the middle of the tenth book. In 1562, the first nine books, with part of the tenth, were published from the manuscripts of Phaer, by his friend, William Wightman, with a dedication to Sir Nich. Bacon, Knight, Lord Keeper of the Great Seal. The first edition, as perfected by Twyne, was published in 1573, and the last was that, the title of which is given at the head of this article.

It is probable, that the encomiums bestowed on Phaer's translation of the Æneid by his contemporaries, were heightened by their esteem for his personal character; for they are so lavish, as to do no credit to the taste of these critical panegyrists. Puttenham says of him, that he was well learned above any other, that his translations are clear and faithful, and that his verse is learned and well corrected.* This eulogy is the more deserving of notice, as coming from the author of a critical work, who may be considered as a professed critic, and as probably speaking the sentiments of the literati of that time. In a letter prefixed to Greene's Menaphon, is the following notice of our author. “ M. Phaer, likewise, is not to be forgot in' regard of his famous Virgil, whose heavenly verse, had it not been blemished by his hawtie thoughts, England might have long insulted his wit, and corrigat qui potest have been subscribed to his work." This is rather strangely expressed, but it seems intended for praise. Nearly the same remark will apply to the observations of Arthur Hall, in the dedication of his ten books of Homer's Iliades, to Sir Thomas Cecill, in the year 1581.

* Art of Englishe Poesie.

Richard Stanyhurst, who, in 1513, published a whimsical version of the first four books of the Æneid, in English hexameters, must have considered Phaer as a rival; and he accordingly criticises some particular passages of his predecessor's work; but in the dedication to his brother, or rather brother-inlaw, Lord Dunsany, he says, “ The gentleman [Phaer] hath translated Virgil into Englishe rythme with such surpassing excellencie, as a very few (in my conceit) for pickte and loftie words can bourd him ; none, I am well assured, overgoe him.”

But the most extraordinary, and, on several accounts, most curious, specimen of the opinions which the contemporaries of Phaer entertained, relative to his merit as a poetical translator, is to be found in the following “ Epytaph of Maister Thomas Phayre,” from a very scarce book, entitled, “ Eglogs, Epytaphes, and Sonettes. Newly written by Barnabe Googe, 1563, 15 Marche. Imprynted at London by Thomas Colwell, for Raffe Newbery, dwelying in Flete-strete, a little above the Conduit, in the late shop of Thomas Bartelet.”

“ The hawtye verse y Maro wrote

made Rome to wonder muche,
And mervayle none, for why, the style

and weightynes was suche,
That all men judged Parnassus mownt

had clefte her selfe in twayne,
And brought forth one that seem'd to drop

from out Minervaie's brayne.
But wonder more maye Brittayne Great

when Phayre did forysh late,
And barreyne tong, with swete accord,

reduced to such estate :
That Virgil's verse hath greater grace

in forrayne foote obtaynde,
Than in his own, who whilst he lyved

eche other poets staynde.
The noble H. Hawarde once,

that raught eternall fame
With mighty style did bryng a pece

of Virgil's worke in frame,
And Grimaold gave the lyke attempt,

and Douglas wan the ball,
Whose famouse wit in Scottysh ryme

had made an ende of all.
But all these same dyd Phayre excell,

I dare presume to wryte

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