June 17, 2020 0 By admin

Frederick Ahl’s new translation captures the excitement, poetic energy, and This is an Aeneid that the first-time reader can grasp and enjoy, and whose. FREDERICK AHL, trans. Virgil, Aeneid. Introduction by Elaine. Fantham. Oxford and New York: Oxford University Press, Pp. With index and maps. Frederick M. Ahl (born ) is a professor of classics and comparative literature at Translation of Virgil’s Aeneid (), Book I, lines – and –

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Not every frederifk received by BMCR is reviewed, for many reasons, not least the inevitable slips between good intentions of reviewers and their ability to deliver on those attentions, to say nothing of the editors’ insistence on timely reviews.

I would be sorry to see Fred Ahl’s Virgil unnoticed here, fredsrick its many virtues. I should not venture a review, not least because it is scarcely appropriate to review the work of someone who once gave me a job when I badly needed it. The book appeared in a handsomely compact hardcover and now in a more typical trade paperback of the Oxford World’s Classics, new style.

  ATF 35143 PDF

It has a long introduction by Elaine Fantham, translator’s note, maps, and extensive annotation and index pages for of translation. The most unusual of its excellences, however, is metrical. With great patience, ingenuity, learning, and wit, Ahl has devised an English representation of the dactylic hexameter, each line comprising syllables in 6 feet accented on the first syllable.

The freferick is not procrustean as were the specimens W.

Auden showed long ago in his commonplace book A Certain World. I will leave it with a sample of a famous passage 4. It takes a few aeneif to get the hang of the meter, which then proves hypnotic. He captures in aeneod last words the ambiguity that would exercise Servius, Augustine, and others after. A Latin text for comparison:. Bryn Mawr Classical Review Oxford University Press, Reviewed by James J.

The hoofbeat of horses

O’Donnell, Georgetown University provost georgetown. Such her insistent plea; and such lamentations her sister, Saddest of all, has to act, re-enact. To laments, he proves passive, Motionless; and to their voices, the words that he hears, unresponsive.

Fate blocks, god obstructs what he, as a man, would hear calmly. So, in the Alps, wild gales from the north gust this way and that way, Vying among themselves to uproot some vigorous oak tree, Massive with centuries’ growth: Yet the old oak tree Sticks to the crags, and as high as its crest reaches up towards heaven’s Brightness, its roots stretch down just as low into Tartarus’ darkness.


Review: Virgil’s Aeneid translated by Frederick Ahl | Books | The Guardian

Such was the pounding of voices, this way and that way, the aeneis Underwent ceaselessly; he, in his great heart, felt all the anguish. But, in his mind, he remained unmoved; tears flood, but are wasted. A Latin text for comparison: Talibus orabat, talisque miserrima fletus fertque refertque soror. Comment on this review in the BMCR blog. Books Available for Review. Bryn Mawr Classical Commentaries.