Matt Fox, 2011

IGIVEYOUEMPIREWITHOUTCLOTHESOr,killingclassicstomakeakilling Astwoforeignwarsragewithoutend,thesouthernborderplungesintoadruginduced maelstromofgangviolence,theplanktonthatproducehalftheplanetsoxygenchokeanddie onwarmacidicoceansfromourburningoffossilfuels,andthecentralgovernmentnearstotal politicalparalysis,itmayseembothnegligentandfutiletowastegoodeffortbemoaning incompetenttranslationofancientliteraryclassics.Itsnotasthoughintellectualvaingloryis notanoldspeciesofhumanfolly,asendemictohumanaffairsaswar,drugs,mindlessexcess, andpoliticalstrife,sothatpointingitoutandaccusingitforwhatitiswouldbetonipanew weedinthebud.Inshort,thereseemslittlejustificationforliterarycriticismofanysortthese days.Still,painfulasitis,onefollowsthepaththeyareon,fightingthefightsbeforethem,even ifitstotiltatwindmills.Although,onemotivetosuchworkwouldbetosupposethataneffete andhollowliteraryeliteisjustatipoftheiceberg,andmeltingthattipwiththesunlightoffair censurejustmightallowmoreworthyliteraryexcellencestoriseabovethesurface.Maybe. Andso.Thetargetofthisliterarilyincorrectroastisadishservedcoldbelated,thatis, bymorethantenyears,duringwhichtimethewriterinthedockhascontinuedwithimpunity toseriallyabuseclassicalLatinpoetry,abettedbyaprestigiouspublishinghouseandeggedon byhighpraiseandprizesfromliteraryestablishments.(Bythispoint,onemightsay,themoral hazardhasreachedsystemiclevels.)Towit,DavidFerry,venerableoctogenarianand honorableveteranofourwaragainsttheNazis,hassincethelate1990ssolidifiedhisposition asoneofAmericasmostskillful,authoritative,andrespectabletranslatorsintocontemporary AmericanEnglishofthepoemsofHoraceandVergil.Butdespitethecashprizes,awards dinners,thegushingreviewsandpressreleases,noneofthesehighpolishhardbackvolumesof versesmeasuresuptotheLatinoriginalstowhosedeepprestigetheyareparasite.Indeed, theyhardlyfulfilltheauthorsownprofessedintentionsunlessreadironicallywithwhichit isappropriatetobegin.OfhisversionofHoracesEpistleshewrites: LetmeechoastatementImadeinmytranslationofHoracesOdes:Inthese translationsIhavetried,generallyspeaking,tobeasfaithfulasIcouldbetoHoraces poems.EnglishofcourseisnotLatinandIamcertainlynotHorace.Everyactof translationisanactofinterpretation,andeverychoiceofEnglishwordorphrase,every placementofthosewordsorphrasesinsentencesmadeinobediencetothelawsand habitsofEnglish,notLatin,grammar,syntax,andidiomsandeverymetricaldecision madeinobediencetoEnglish,notLatin,metricallawsandhabitsreinforcesthe differencesbetweentheinterpretationandtheoriginal.Thisistruehoweverearnestly theinterpretationaimstorepresentthesenseofHoracesEpistles,theeffectsand implicationsofhisfiguresofspeech,thecontrolledvolatilityofhistonesofvoice.As

translationsoftheseEpistlesgo,itismyhopethatthisone,grantingsuchdifferences betweenEnglishandLatin,isreasonablyclose. Repeat,asfaithfulasIcouldbewhichistosay,notvery.Repeat,howeverearnestlythe interpretationaimstorepresentthesensewhichistosay,again,notvery.Asanexplanatory modusoperandithisentireparagraphis,atbest,disingenuousanddishonest;itprofesses, howeverwillynilly,alevelofconcernforfidelitythatthetranslationsdonotbearout.Atleast DavidSlavitt,ofthesamegeneralschooloftranslation,admits:Asatranslator,Itakeallkinds ofliberties,andMyenthusiasmforOvidsworkandmydelusionthatIhaveunderstoodhis poem,thatIhaveseenitandseenthroughittothesenewwords,arebrashbutnecessary (SlavittsMetamorphosesofOvid,1994,pp.xixii).Thatnecessarymakeslittlesensewasit somehownecessaryforSlavitttoinflicthisdelusionsontheunwittingreadingpublic?butat leasthedoesnttrytoexcusehislibertiesbypleading,ofallthings,obediencetoEnglish grammar.Ohthatthetimeshavesunksolowthatourpubliclaureatesprofessnottobold creativeflights,ortopurifythedialectofthetribe,butpleadinsteadindulgenceonthe groundsthattheyaremerelyhabitualandlinguisticallylawabiding! [Cutaway:Nowabriefwordfromoursponsors] Sir,tismyoccupationtobeplain,saysKentinKingLear.TowhichsaysCornwall: ThesekindsofknavesIknow,whichinthisplainnessharbormorecraftandmore corrupterendsthantwentysillyduckingobservantsthatstretchtheirdutiesnicely. AndKent:Iknow,sir,Iamnoflatterer.Hethatbeguiledyouinaplainaccentwasa plainknave,whichformypartIwillnotbe(Act2,sc.ii).ForhisplainspeakingKent willspendthenightinthestocks,thoughhe,andnotCornwall,willsurvivethe generalcataclysmofthedrama. [Cutbacktodiscourse] Grantingthepointthattranslationisaformofinterpretation(Latininterpres,afterall,means translator,amongotherthings),isitstrictlytruethateverychoicereinforcesthedifferences betweentheinterpretationandtheoriginal?Onthecontrary,doesnotgoodtranslationby whichImeantranslationthatearnsandmeritsouradmirationforstagemanagingtheminor miracleofsomehowconveyingthefullrichesoftheoriginalatleasttemporarilyelidethe differences,givingusthesensethatyes,thatsit,thatswhattheoriginalsays?Instead,tobe honest,Ferryoughttohavesaidthathewouldhaveusacceptimpressionisticinterpretation astranslation,thatis,insteadofandinlieuoftranslation.Interpretationthataimsatand achievesonlyparaphrase.(Byreasonablyclosehemeansyougetthegist.)Thisiswhyhe movesfromtheclaimthattranslationisinterpretationtousinginterpretationtwiceto

describehiswork,withtheimplicitunderstandingthatallinterpretationissubjective,then endingwithemphasisonelusiveimplicationsoffiguresofspeechandtonesofvoice.One can,ofcourse,readanythingintosuchtones. Butinfacttranslationisnotsubjective,anymorethaninterpretationis;Latininterpres means,atroot,amiddleman,amediator,hencealsoabrokerandnegotiator.Werightly demandfrommiddlemen(thoughlessoftenget)arespectforfairdealing;onceswindled,we dontgobackformore.Wordscanmeanlotsofthings,true,buttherearelimitstoambiguity, eveninpoetry(exceptinthosenotoriouslimitcaseswhereambiguitymultipliesinfinitely;but suchsitescan,withcare,bemoreorlessobjectivelyidentified).IfIaskwhatadiosmeansin EnglishandImtolditmeanshello,IknowImbeingliedto;ifImtolditmeansnothing,Ill suspectImbeingcheated.(OnemaydeducethesamewhenFerrytranslates,say,optime QuintisimplyasQuintusat1.16;askhim,whatdoesthatoptimetheremean?Afairquestion; thetranslatorsaysitmeansnothing.) Soweareforcedtoaskfurther:ifanaccurateorpersuasiveunderstanding,and representationofsuchunderstandingintranslation,ofsecondandthirdleveleffectsof languagelikeimplicationsandtonesofvoiceisnotstrictlyrootedinandbaseduponthe literalwordschosenandwrittenbyapoet,whatisitbasedon,exactly?Toinferfromthevast silenceonthisquestion,itmustbepresumedtobebasedontheselfsufficientauthorityofthe poettranslator,whom,wearetotrustimplicitlylackingsufficientknowledgeourselvesto readtheoriginalissuchaoneaspossessesadeep,ifmysterious,connectiontotherich depthsoftheoriginalclassicandwouldsurelynotsteerhisreadingpublicwrong. Only,alas,suchafaithiseasilyshowntobeunwarranted.Letusbeginwithaninstance, takenalmostatrandom,thoughitsegregiouslibertyistypicalofthewhole.InEpistle2.1we read: IfDemocritusbyanymeanscameback Fromtheotherworldtothis,hedhaveagoodlaugh. ThisinterpretationrendersthesixLatinwords,asstraightforwardinsenseastheycome: siforetinterris,rideretDemocritus

Meaningifhewereonearth,thatistosayalive,Democrituswouldlaugh.Wheredoes ourgoodtranslatorfindsupport,orderiveinspiration,forhisbyanymeanscamebackfrom theotherworldtothis?Arewetotrustsimplythatthisradicallyegregiousexpansion expressessomeessentialthoughelusivetoneofvoicethatwewouldnotgetfroma renderinglike,say,IfDemocrituswerealive,howhewouldlaugh!?(Wellleaveasidethe incongruousnessofimputingtoHoracetheideathatDemocritus,anatomicmaterialist,should

bethoughtofascomingbackfromanotherworld,whenfromhispointofviewhei.e.his bodysconstituentatomscouldneverhaveleftthisworld.Sufficeittosaythatsuchajoke,if thatswhatitis,isnowhereintheoriginal.Unlessitsimpliedbyaninvisibletoneofvoice.) WhatexasperatesinFerrysapproachtoreadingHoraceandVergilisthisegregious expansionismcombinedwithablatantandoftentotaldisregardforthewordsfoundinthe original.Theregularexpansionsoftheoriginalhabituallylackallproportion.HeresHoraces Latinafewlinesdown: GarganummugireputesnemusautmareTuscum, tantocumstrepituludispectanturetartes divitiaequeperegrinae,quibusoblitusactor cumstetitinscaena,concurritdexteralaevae.

Thesefourcompactlinesswellintranslationtothis(withitsfreeadditions,andother curiosities,markedinbold): Youdthinkyouwerecaughtintheroar OfastormintheTuscanocean,orintheroar OfatempestintheforestofCapeGarganus. Thatswhattheroaringislikeinthetheaterwhen Theaudiencefirstseesthegorgeousset Andseestheforeignraimenttheactorwears When,lostintheraiment,hemakeshisappearanceonstage. Righthandscrashinglycometogetherwithlefthands. Beginningattheend,whynotsimplycrashtogether?Agoodeditormighthavesuggestedas much,inplaceofthatsillycrashingly.Andagain,onewouldneverguessfromthetranslation thetightstylisticandgrammaticalintegrationofHoracesfourlines,whichareonebeautifully unifiedsentencethathangsonthebackboneofyouwouldthinkwhenshowsare watchedrighthandscrashtogetherwithleft.InsteadtheEnglishreaderistreatedtoadiffuse repetitionoftermsstorm,tempest,roar,roar,roaring,sees,sees,raiment,raimentnoneof which,alongwiththeotheradditions,arefoundintheoriginal.MarkPossanzaastutely criticizedthisannoyingtickofrepetitioninhisreviewofFerrysearlierOdes (http://bmcr.brynmawr.edu/1998/19980710.html),andhere,asmuchasthere,theygivethe readerthewrongimpressionofHoracescraftsmanship. Exactly,anditdoessobecauseitexhibitssolittlecraftsmanshipofitsown.Whatsthe pointofallthisrepetition?Isthereadersupposedtohaveforgottenthethreadofthoughtor

thesenseoftheprecedingwords?Inanageoverwhelmedonallsidesbyvastmountainous wavesofprosaicverbiage,inprintandonline,dowenotexpect,evenmorethaninearlier timesthoseofuswhostillseekoutpoetryforitspeculiarvirtuesandpleasuresthe economyandcompressionoflanguagethatonlygreatpoetryachieves?Allpoetryworthyof thename,everywhereandalways,istightpackedandpotentinitsownwayandaccordingto thestylisticandgenericcanonsofitstimeandplace.Weshouldexpectnolessfromany translatorwhooptstoputtheirworkinverseratherthanprose.Ferryseffortsfailthefirst diagnostictestofallpoetry:besidesitsincidentallymetricalphrasing,itdoesnotconspicuously distinguishitselffromworkadayprose.(Oftenitsnotevenverygoodprose:Horacestwo wordssemelirrisus,oncemadeafoolofin1.17areblownuptoThepersonwhosbeen/ takeninonceisnevergoingtobe/takenintwicewhichisEnglishidiom,sure,butdidwe needitspelledoutforus?)Atanyrate,thisexamplemakesclearthatnoneofthesestylistic choices,whichdonotmatchtheoriginalveryaptly,canbechalkeduptohisselfdefenseof obediencetothelawsandhabitsofEnglishgrammar,syntax,andidioms.Fornothingin thoselawsandhabitswhatevertheymaybeforbideconomy,compactconstructionofa lineofverse,orareasonablycloseapproximationtothesyntacticalstyleandunfoldingofthe original. Hereareafewrandomexamplesthatstickinthecraw:niladmirari,amongthemost potentofallclassicalphrases(1.6),becomesnevertobebowledover.Canyouimagine offeringthisphraseasanaptandpithymoraltoafriendinneedofguidance?Inthesame poem,gaudequodspectantoculitemilleloquentembecomesFeeltheexhilarationwhenthe crowd/Gathersinnumbersjusttohearyouspeak.ThislevelsHoracesfinefigureofspeech athousandeyesintothehumdrumthecrowdinnumbers.Andagain,thesenseless expansion!Whatjustifiesnotaimingforsomethingmoreliteral?Suchas: Gaudequodspectantoculitemilleloquentem Thrillthatathousandeyesarewatchingyouspeak,or Revelinathousandeyesthatwatchyouspeaking. FromFerrysarspoeticaonewouldsurmisethatLatinissodensewithmeaningthatonemust alwaysmatchoneLatinlinewithtwoormorelinesofEnglish.Asthoughthepoetrydidnot residepreciselyinthedensity;tounpackandunfolditsoroutinelyistodiluteandexhaustthat poetry. (Incidentally,thetranslatorscasualindifferencetotheLatintextismatchedbythe printerssloppyworkwithitonthefacingpage:fourlines[2023]aremissingfromtheLatinof thispoem,aproblemthatrecurselsewhereaswell.)

Letslingeronthesamepageforabit(sinceitservesexamplesasgoodasanyother). Ferryrendersnullaformidineimbutiwithunstupefied,arathercolorlesswordthatdoes nothingtoconveyeitherthesweatorthepsychologicalstainimpliedinimbuti,soaked, drenchedwithfear.Hiswholesentenceis:Somemencangaze/unstupefiedbythesightof thesunandthestars/astheymovearoundintheircoursesinthesky.Andwhereelsewould theybe?Horacedoesntwastewordsstatingtheobviousplacewewouldlooktofindthesun andstars.Insteadhesays,thissunandstarsanddecentiacertis/temporamomentiswhichis tosay,theseasons(andhours),beautifullyorderedintheirsettledrevolutions.Farfrom conveyingtousanyofthisextremelyloadedandpotentphrase,Ferryhasmisseditentirely. HereifanywhereisLatinthatdeservesexpansionjusttocapturewhattheoriginalexpresses; butFerrygivesustheblandmovearoundintheircoursesinthesky,fromwhichwegetno senseofwhyonewouldindeedneeduncommonpsychologicalstabilitytogazewithoutfearon thewondersofheaven. ForHoraceknowsandshareswithhiscontemporariesaviewthatFerryseems,liketoo manymoderns,tohavelost:theheavens,paradoxicallyfixedandinconstantflux,are supremelydecens,wellformed,beautiful,fitting,becoming,seemly(thisisoneoftheLatin termsthatrenderstheequallypregnantGreektermkalos,fair/noble,thoughitalsofitsthat otherGreekvaluetermtoprepon,fitting,appropriate).Horaceisgivingusavividreminderof thetruenatureoftheskyabove.Theheavenlybodiesdonotjustmovearoundincoursesas Ferrysboredinterpretivegazewouldhaveit;theygiveandmakeforourworldtimeitself,with dazzlingmotions,atoncefixedandfluid.Andwhatismore,theentirelargerpointthe controlledvolatilityofhistonesofvoice,ifyouwillcomesthroughpreciselyintheorderof thewords,alsoignoredinFerrysversion: Thissunandstars,thefineandorderlyfixed Motionsoftheseasonstherearesomewho,notdrenched Byanyfear,cangazeonthem. Idontinsistonthetranslationinitself;buttheorderiscrucial:Lookatthesun,Numicius,the stars,themarvelousmovingseasonssomemencangazeonthatwithoutsweatinginfear. Nowcomparethattotheselowlythingsofearththatyoucarefor.Heispointingoutthe heavenstoNumiciusandmakinghimreallyseeit(evenifforthefirsttime)inthewaythatwise menappropriatelyviewit:astrulymarvelousandwonderful,butnothingtodread. (Remember,NILadmirari,dontletanythingdazzleyou.) Toputafinerpointonthispassage,Horacetookphilosophy,bothmoralandnatural philosophy,veryseriously,whichforthemostpartourmodernpoetsdonot.HoracesEpistles especiallyaretheworksofamanwhobelievedmorethananythingthatifyouweregoingto

putoneworddowninwritingatall,ithadbetterbeworthsaying,anditisonlyworthsayingif itissaidwell,especiallysinceonecannotmuchhopetodiscovertrulynewthingsworthsaying. HomerandPlato,amongothers,hadalreadysaiditallandwell.Thereisonetruththoughitis elusiveandmultifacetedandyouhavebettertrytoconveyitinwhatyousay.Soifonewants tobejustifiedinspeakingatall,onemustlearn,reallylearn,fromthebestandseekto emulateimitatewithrivalrythebest,orstaysilent,andlistenwithmodestyuntilyouve grownwiser.OurmodernpoetsinsteadaredazzledlikeNumiciusbythelowlythings,thehigh praisesinprint,theadmiringeyeswatchingthemspeak,thecashprizesandhonorary fellowships.Whatotherhierarchyofprioritiesmightexplainthesheerpaceofappearanceof theserenderings?TheOdesin1998,TheEcloguesin2000,TheEpistlesin2002,andThe Georgicsin2006.True,Mr.Ferryhasbeenandisinhisolderandwiseryears.Wemight supposehistalentshavenowmaturedtoasteady,assuredskillfulnessthatmatchesgood poeticjudgmentwithspeedydispatch.Andsuchmightbethecase,ifthefruitsstoodbetter inspectionthantheydo. Compareanotherelderstatesmanofclassicaltranslation:RobertFaglesspentafull decadetranslatingtheAeneidafterhehadcompletedtheHomericpoemsin1996.Atleast someofthattimewasspentseriouslyweighinguphisownfitness,poeticandphysical,forthe taskathand(andatleastsometimeofftoenjoytheimmenseandwelldeservedsuccessforhis Homericpoems,promotingHomerinreadingsaroundthecountry).AndIknowforafactthat heworkedlikeanoldPennyslvaniafarmeronthatpoem,dayinanddayout,andstillnever ceasedtovoiceinpublichisreservationsaboutwhetherhiseffortswerepayingoffnotin laurelsandhonorsbutinsimplycapturingafairmeasureoftherichesoftheoriginal.And nobodywhoknowsVergilandhispoem,andhasspentanhourcomparingapageofitto Faglesversion,canhonestlyarguethateverywordofhisversesisnot,attheleast, conspicuouslyrootedinandinspiredbywordstheliteralwordsandphrasesfoundinthe originalLatin.FaglesisindeedanEnglishAeneid. Bycontrast,itshouldtakeanyonewithagoodmodicumofLatintenortwentyminutes tofindquestionablelapsesfromtheoriginalLatinonanypageofFerrystranslations.Shall weplungebackintothetextforanotherexample?Letstakethefirstfivelinesof1.4,Horaces poemtofellowpoetTibullus. Inthefirstline,candideiudexispoorlyrenderedashonestreader,andsermonumis notreallyjustpoems.Inthesecond,nuncisnotreflectedinthetranslation,asiteasilycould be(whatshallIsayyouredoingnow);neitherisPedana.Thenextlinereads,Atworkona poemtooutdoCassius?Moreliterallythiswouldbewritingsomethingtobeatthetriflesof CassiusofParma?Inthenext,thevividandrarereptarecreeping,crawlingisturnedmerely intotakingawalk.Butthatisnotit;hesskulkingaboutthewoods.Finallyweread:and

thinkingthoughtsthatareworthyofyourself?Well,notexactly.Itsaystakingcarefor whateverisworthyofawiseandgoodman?Thesearethelapsesfromjusttheliterallevel(all ofwhichanyselfrespectingteacherwouldrightlypointoutandcorrectintheirstudents,and furthertakepainstoimpressuponthemthatthesearefaultstoavoid).SmithPalmerBovies 1959versionisfarmoreliteraland,toboot,hasatleastasmuchpolishandgraceasFerrys mightclaim: Tibullus,honestjudgeofthesesatiresofmine, WhatmayIsayyouaredoingatPedumthesedays? Writingsomeversethatwilloutshinethosenicelittlethings ByCassiusofParma?Stealingoffintothewoods Byyourself,forahealthfulwalk,andthinkingabout Whatagoodandwisemanoughttoreflectupon? Stealingoff,agoodandwiseman,honestjudge,nicelittlethingsallthesereflect wordsintheoriginalthatFerryobscuresorsimplyignores. Beyondtheliterallevelhere,atranslatorshouldatleastfeelapinchofanxietyabout somehowconveyingHoracescutelittlepunonAlbius(white)andcandidewhite,clean, shining.Inthesamevein,byendingthefirsttwolineswithiudexPedana,Horacewouldseem tobeplayingonanobscurepoliticalorlegalphrase(aiudexpedaneus),nototherwiseattested beforethelaterEmpire,but,ifso,probablyinordertoemphasizespecificallytherejectionof civicandpoliticallifeappropriatetoamanofTibulluswealthandstanding;candidedoesthe samebycallingtomindcandidatus,sonamedfromthechalkwhitenedtogaofthoseseeking office.(PalmerBoviehasrecoveredjustahintofallthiswithhisoutshine.)Byblurringiudex intoreader,throwingoutPedana,notplayingupvincat(conquer)inanyway,and overlookingthepoliticalimplicationsofreptareslinkingoffandcurantem,whichiscommon forspecificallycivicaswellasmilitarydutiesandfinallythrowingoutentirelythesapiente bonoque,allimportanttermsbothphilosophicallyandpoliticallyFerryhasgivenusathin interpretationoftheseloadedlinesthatmissesentirelytheirthicklypolitical,civic,moral,and philosophicalengagements.Inaword,onemightsay,hesmissedeverythingthatmakesthem Roman. Ironically,FerryisathisbestinthemanyplaceswherethemeaningofHoraceswords forceonetobeconsciousofthescrupulouscareanddiligence,thesheerhardwork,ofmaking goodpoetry,asthoughinbadconscienceherisesnowtothechallenge(healsoquotesand emphasizesthesepassagesinhisintroduction).Thisisnottosaythattheydonthavethesame telltaleproblemsaselsewhere.Buttheyareoftennotsuchbadverses,allthingsconsidered:

Peoplewhowritebadpoetryareajoke, Butwritingmakesthemhappyanditmakesthem Happilyreverentialofthemselves. Iftheyhearnopraisefromyou,whatdotheycare? Deaftoyoursilencetheyllpraisethemselves,serenely. Buthewhodesirestowritealegitimatepoem Willbeanhonestcriticofwhathedoes. Asgoodandtrueadviceonpoetrywhichgoesonatlengthinthepoeminthis EnglishasintheLatin.Unfortunatelythatfalseandflatteringsilencethatrendersbadpoets blessedintheirownmindshasbecomethenorminliterarycirclestoday.Hasiteverbeen otherwise?Probablynot.(Incidentally,thelineiftheyhearnopraisefromyou,whatdothey care?DeaftoyoursilencehaslittlesupportintheLatinbesidesthephrasesitaceas,ifyoure silent.Alsoitisnotthemselvestheypraisebutwhatevertheyhavewritten,quidquid scripsere.Andfinally,thelastlinemissestheentiremetaphoricpoliticalregisterofthehonest censorwhopurgesthecensusofillegitimatecitizensand,whenhereallywantstoprovehis honestyandhispoliticalauthority,throwsconspicuouslyimmoralsenatorsoutofthe Senate.)Horace,throughFerry,goesoninhispaeantothetruepoet(phraseslackingsupport intheoriginalarecrossedout): Hellbewillingtousenewwordsinpoetry, Madevalidbytheirvalidusebymen Goingabouttheirdailyworkorplay. Steady,flowing,andpure,justasariver Issteady,flowing,andpure,hewillpourforth Power,andblesshiscountrywitharichlanguage. Hellprunebackwhateverisovergrown,smoothout Whateverisrough,getridofwhateverweakness Inhibitspower; Onestrongstrainofthegeneralliterarymalaise,ofwhichFerryisrepresentative,is preciselytheinabilityorunwillingnesstoenrichpoeticdictionwithnewwords.Tobesure, plentyofcurrentpoetsdo,principallyamongthepostpostmodernavantgarde,butgenerally thosepoetshavealsothrownouttheclassicsentirelytorevelinmodernityandthenow. (Onceagain,Ferryneedscorrectionshere:hewillnotpourforthpowerbutriches, wealth(opes),andwhateverweaknessinhibitspowerisentirelyunclassicalinconception (andnotliteral);thecrucialwordisvirtusvirtue,strength,excellence,courage.Thephraseis

potentlyambiguous.Itcanmeaneitherremove,destroy,killORelevate,lift,raiseupOR endure,bearORcheer,encouragethingslackinginvirtue.Pluckupwhatslacking couragemightcatchsomeofthis.Sotoo,smoothoutwhateverisroughisrough.Romans likeAmericansprizedabitofroughnessaspartoftheirnationalcharacter.ThatswhyHorace saysthingstoorough(nimisaspera);theverbhere,levabit,isalsofruitfullyambiguous, meaningbothsmooth,polish,andlift,raise,elevate,mitigate.AndHoraceaddsthemeans (thatFerryignores),sanocultuwithhealthyculture.ThefirstlineisnotjustHellbewilling tousebutratherhewilltake,adopt,accept,appropriate,layclaimtonewwords,thattheir parent,generalusage,hasbroughtforth.Themetaphorisofsocialclass:patricianpoetrywill adoptthestrong,selfmadefoundlingchildrenlikeHoracehimselfofplebeianorslaveborn parentage.Poetry,likesociety,onlythrivesbyraisingworthynovihominesnewmentothe ranksoftheboni,thesociallyrespectedandselfrespecting.) Poetryislanguagewhosecharmsmakeuswanttoread,see,hear,andenjoyitagain andagain.InDavidFerryshands,HoraceandVergiltwopoetswhoseworkshavewithstood themerciless,witheringtestoftimetoprovetheypossesstheclassiccharmsoftruepoetry becomelooseandlazyversewecanbarelystomachthroughonce.Andworse,byplacingthe Latinonthefacingpageandinvitingustocompareclosely,ithasmadetheentireostentatious productionembarrassingtothosedwindlingfew,thatis,whohavetakenpainstolearnto readit.Butwhoelse,wereentitledtoask,istheLatinprintedfor? Inaworldwhererewardandhonorfollowedtruemerit,workslikethoseDavidFerry hasproducedinthenamesofHoraceandVergilmight,perhaps,findtheirwayintoprint,in someform,hereorthere.Instead,inaworldlikeours,theyearn(s)lavishattentionfrom prestigiousliterarypublishers,theadmiringadorationofpeersinselfservingliterary establishments,nationalawardsandprizesforexcellence,andvocalpublicrecognitionasthe greatestmonumentstoclassicalpoetrythecurrentgenerationiscapableof.Thismightbea fittinglastword,ifitwerethetruth. Butthetrueandfargreatertalentpool,poeticandphilological,ofthisgenerationis conspicuousenoughwhenonelooksoutofthewayofandbeyondthebenightedcommercial andacademicpoetryrackets,withtheirclosedcirclesoffriendsclaustrophobicallycrampedin thegreatNortheasternmegalopolis.TheInternetishavingthissalutaryeffect,amongseveral, thatthosewiththetalent,will,andindustryareabletomaketheirpoeticandliteraryefforts knownwithinfinitelygreaterease,andwithoutsacrificingtheirlivesandsoulstothestingy editorialgatekeepersofthetraditionalprintpresses. Andinanycase,withallthecripplingproblemsinthis4G,hyperthreading,post consumerwaste,postcapitalist,postdemocratic,posteverythingworldofours,itseemslikely thattheendofthatworldofprintbooks,andtheseeminglybottomlessconsumerdemandthat

justifiedit,isinsight.Inwhichcase,theinternetwillbecometherightfulhomeandrefugeofall poetry,boththeclassicsandtheirlatterdayemulators.Literaryfollyandvainglorywill,tobe sure,stillhaveastrongpresencehereasitdoesalready.Butonemoreinstitutionalformthat survivedandthrivedonpromotingitwillhavereacheditsnaturalend.