{"id":419,"date":"2024-05-14T19:07:03","date_gmt":"2024-05-14T19:07:03","guid":{"rendered":"https:\/\/blogs.dickinson.edu\/classicalstudies\/?p=419"},"modified":"2024-05-15T12:48:01","modified_gmt":"2024-05-15T12:48:01","slug":"translating-rumor-vergil-aeneid-4-173-197","status":"publish","type":"post","link":"https:\/\/blogs.dickinson.edu\/classicalstudies\/2024\/05\/14\/translating-rumor-vergil-aeneid-4-173-197\/","title":{"rendered":"Translating Rumor (Vergil, Aeneid 4.173-197)"},"content":{"rendered":"

Virginia Hargraves (’27) discusses the Rumor passage in Book 4 of the Aeneid, examining the recent translations of Shadi Bartsch and Sarah Ruden, then offers an adaptation of her own, based on “Rumor Has It” by Adele.<\/p><\/blockquote>\n

\"Sculpture<\/a>
Lindsey M Dillon, “Venetian Rumor”<\/figcaption><\/figure>\n

Extemplo Libyae magnas it Fama per urbes,
\nFama, malum qua non aliud uelocius ullum:
\nmobilitate uiget uirisque adquirit eundo,\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0175
\nparua metu primo, mox sese attollit in auras
\ningrediturque solo et caput inter nubila condit.
\nillam Terra parens ira inritata deorum
\nextremam, ut perhibent, Coeo Enceladoque sororem
\nprogenuit pedibus celerem et pernicibus alis,\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 180
\nmonstrum horrendum, ingens, cui quot sunt corpore plumae,
\ntot uigiles oculi subter (mirabile dictu),
\ntot linguae, totidem ora sonant, tot subrigit auris.
\nnocte uolat caeli medio terraeque per umbram
\nstridens, nec dulci declinat lumina somno;\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 185
\nluce sedet custos aut summi culmine tecti
\nturribus aut altis, et magnas territat urbes,
\ntam ficti prauique tenax quam nuntia ueri.
\nhaec tum multiplici populos sermone replebat
\ngaudens, et pariter facta atque infecta canebat:\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 190
\nuenisse Aenean Troiano sanguine cretum,
\ncui se pulchra uiro dignetur iungere Dido;
\nnunc hiemem inter se luxu, quam longa, fouere
\nregnorum immemores turpique cupidine captos.
\nhaec passim dea foeda uirum diffundit in ora.\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0195
\nprotinus ad regem cursus detorquet Iarban
\nincenditque animum dictis atque aggerat iras.<\/p>\n

“Immediately Rumor goes through the great cities of Libya, Rumor, an evil than which no other is swifter: she thrives with speed and gains strength by going, small with fear at first, soon she lifts herself into the air and walks on the ground and hides her head among the clouds. The Earth, provoked by anger against the gods, so they say, gave birth to her last as the sister of Coeus and Enceladus, quick on her feet and with nimble wings, a horrible monster, huge, who has as many feathers on her body, as there are\u00a0 watchful eyes beneath (amazing to say), as many tongues, as many mouths are speaking, as many pricked up ears. She flies at night in the middle of the sky and the earth shrieking though the dark, her eyes do not close with sweet sleep; by day she sits as a guard either on the top of the highest roofs or on high towers, and alarms the great cities, holding on as much to false and evil things as to being a messenger of the truth. Now rejoicing she keeps filling the nations with various rumors, and she keeps singing true and untrue things equally: that Aeneas born from Trojan blood has come, beautiful Dido deigns to join herself to that man; now they are keeping the long winter warm together in luxury, forgetful of their kingdoms and captive to their shameful desire. The foul goddess spreads this on the mouths of men everywhere. At once she turns her course to King Iarbas and sets fire to his spirit with her words and increases his anger.”<\/p>\n

In the fourth book of the Aeneid<\/em>, following the metaphorical marriage between the Carthaginian queen and the Trojan hero, Vergil includes an extended depiction of Rumor personified as the goddess Fama<\/em>. Rumor, described more specifically as a “foul goddess,” dea foeda, <\/em>gleefully spreads the news of Dido and Aeneas’s private relationship through the city streets, inciting anger and unrest among their own people (4.195). As a result of Rumor’s wild and erratic behavior, Aeneas eventually comes to see Dido as a distraction and is reminded by the gods of his fate in Italy. Departing in secret from Carthage, Aeneas leaves behind Dido, who is so distraught from heartbreak that she abandons her role as queen and commits suicide while the Trojan fleet sails away from the Carthaginian shores.<\/p>\n

Vergil opens this symbolic passage straightaway with a sense of urgency, using the Latin word extemplo, <\/em>\u201cimmediately,\u201d setting a frantic tone for the passage to follow (173). This is further emphasized in the next line with the comparative adjective velocius, <\/em>\u201cswifter.\u201d Nothing one can match Rumor\u2019s speed (174). Here, Vergil is already beginning to paint the image of Rumor as an uncontrollable creature who cannot be tamed. This portrayal of the goddess might also foreshadow the unfortunate future of Queen Dido, as both are compared to a female follower of Bacchus later in the epic. After Dido learns of Aeneas\u2019s plan to leave Carthage in secret, she \u201cruns wildly,\u201d bacchatur <\/em>through the city before confronting Aeneas (4.301). When Dido finally succumbs to her miserable state, Rumor is said to have similarly \u201crun wildly,\u201d bacchatur <\/em>through the city, spreading the mournful news, acting as a dramatic echo of the dead queen\u2019s actions (4.666).<\/p>\n

Vergil also stresses the power of Fama <\/em>as a deity, specifically noting her apparent omnipresence in the \u201cskies,\u201d auras <\/em>and on the \u201cground\u201d solo <\/em>and among the \u201cclouds\u201d nubila <\/em>(176-177). The polysyndeton in this line is what draws the reader\u2019s attention to Rumor\u2019s ability to seemingly be in a multitude of places at once because of her impressive speed and agility. Vergil uses various poetic devices throughout his entire epic, but this passage in particular is full of repetitions, most notably alliteration and anaphora, in addition to this example of polysyndeton. Not only does the phrase ira inritata <\/em>almost exactly repeat in translation, meaning either \u201cprovoked by anger\u201d or \u201cangered by anger,\u201d but it is also alliterated, producing a repetitive rhythm and tonal effect when spoken aloud (178). The repetition of tot, <\/em>\u201cso many,\u201d or totidem, <\/em>\u201cas many,\u201d in the list of Rumor\u2019s descriptive traits, tot vigiles oculi…tot linguae, totidem ora…tot subrigit auris, <\/em>is an example of anaphora in epic verse (182-183). These literary techniques and poetic devices, which are all repetitive in nature, stress the rhythmic pattern and verse of the epic while drawing attention to these specific phrases, many of which highlight the disturbing characteristics and actions of Rumor.<\/p>\n

Vergil creates a suspenseful atmosphere to emphasize the direness of Aeneas\u2019s situation in Carthage, where he is sidetracked from his fated journey to Italy. Rumor\u2019s act of \u201cshrieking,\u201d stridens <\/em>creates a palpable, almost audible sense of horror for the reader, distinguishing Rumor from mere gossip, which a contemporary audience might understand it as (185). This terrifying tone is also seen in Vergil\u2019s direct description of Rumor as a \u201chorrible monster,\u201d monstrum horrendum, <\/em>with the goddess personified as a female winged creature (181). In contrast, however, the other female figure present in this scene, Dido, is described as pulchra, <\/em>\u201cbeautiful,\u201d although to a Roman audience, her actions would perhaps seem like a distraction keeping Aeneas from his Trojan duty (4.192). Vergil therefore creates a connection between Rumor and Dido for the reader based on their egregious actions, despite the contrast in their outward appearances.<\/p>\n

Vergil seems to be using personified Rumor to propel the storyline of his epic foreword, literally with the goddess\u2019s speed. This section comes directly after what Dido understands to be her marriage to Aeneas, and already the goddess is polluting the streets of Carthage with this fact mixed with her own exaggerated \u201clies,\u201d infecta <\/em>(190). Although this relationship has somewhat just begun, Vergil is already alluding to its imminent collapse. While she may revel in falsehoods, Rumor eventually represents reality for both Dido and Aeneas when her deceitful behavior plagues both lovers by the end of book four. While attempting to leave Carthage in secret, Aeneas manipulates and deceives Dido, sending the heartbroken queen into a frenzy. Incited by Aeneas\u2019s impious act, Dido similarly deceives Anna before taking her own life. This passage, therefore, ultimately builds the tension of the epic and creates a reference of what is to come with Rumor\u2019s terrifying description and dishonest conduct.<\/p>\n

In her 2021 translation of the Aeneid, <\/em>Shadi Bartsch seeks to construct a \u201cparallel experience\u201d to Vergil\u2019s epic poem in English (Bartsch 57). She believes that Latin \u201cgives each translator a choice,\u201d and she chooses to stay truthful to the original language, tempo, tone, metaphors, and verse of Vergil (52). The poetic device she seems most concerned with is alliteration, which she replicates frequently in her translation and uses to emphasize certain aspects of the analogy in English as Vergil does in Latin. Early in the passage she uses alliteration to contrast Rumor\u2019s initial fear with her growing power, beginning as \u201csmall and scared\u201d but building \u201cspeed\u201d and \u201cstrength\u201d as she flies (Vergil 175-176). This also resembles the typical course of daily gossip, which begins as an individual rumor but increases and strengthens as it spreads.<\/p>\n

Another example of alliteration is Bartsch\u2019s description of the goddess as \u201cfast of foot and fleet of wing\u201d while simultaneously being a \u201chuge, horrific monster\u201d (180-181). While \u201cfast of foot\u201d is very direct in word choice and meaning, \u201cfleet of wing\u201d is more ornate and complex. Already having used the word \u201cfast,\u201d Bartsch finds an alternate translation for speed while still fitting it into the alliteration of the phrase. Although Vergil does not alliterate the phrase monstrum horrendum, ingens, <\/em>the Latin does have a rhythmic beat, especially in the first two words, which Bartsch retains by inverting the word order and alliterating the phrase, translating it as \u201ca huge, horrific monster\u201d (181).<\/p>\n

Bartsch is also dedicated to preserving a similar tone of panic and alarm as Vergil, which she accomplishes through her animalistic word choice in this passage. Rather than the common meaning \u201clifts\u201d or \u201craises\u201d for attollit, <\/em>Bartsch translates the phrase sese attollit in auras<\/em> as \u201cshe rears to the skies\u201d (176). The English verb \u201crears\u201d typically only refers to animals, specifically horses, but in this case fits the actions of a wild bird. Another possible translation inferred from attollit <\/em>could be \u201csoars,\u201d which offers a more bird-like quality to the passage (176). Bartsch returns to more characteristic descriptions of a winged creature with the verbs \u201cscreeching\u201d for stridens <\/em>and \u201cperches\u201d as a more specialized translation for the common Latin verb sedet<\/em> (185-187). Although Vergil does not classify his comparison of Rumor to a specific bird species, his description of the goddess almost seems like that of a vulture or a similar bird of prey, exploiting and feeding on the secrets of Dido and Aeneas. By attempting to replicate the original meaning and meter of the poem directly into English, Bartsch successfully fosters a terrifying atmosphere almost identical to that of Vergil\u2019s, which only intensifies the fear for the reader of the events to come later in the epic.<\/p>\n

In contrast, Sarah Ruden\u2019s methodology for her 2021 Aeneid <\/em>translation seems to be taking each of Vergil\u2019s lines or phrases and reimagining them in poetic English. She states that the most effective aspect of Vergil\u2019s writing is its \u201cRoman epic style,\u201d but because English works very differently to Latin, she makes some alterations in her translation (Ruden 7). While Vergil frequently repeats the same Latin words as a common thread throughout the epic, Ruden believes this would come across as boring and monotonous in English, so instead she chooses to \u201cvary the vocabulary,\u201d using different translations for the same Latin word (8). Although the Aeneid <\/em>is written in dactylic hexameter, Ruden uses iambic pentameter in her translation as it is more flexible with the English language (9). She seeks to embrace the sense of the Latin and the \u201cflavor\u201d of the Aeneid<\/em>, rather than default to a word-for-word translation (10). By doing this, she is able to leave behind the expected, and often awkward, English translations for a more interpretive and aesthetic style reminiscent of Vergil\u2019s extraordinary poetic abilities.<\/p>\n

She too utilizes an abundance of alliteration in her translation with phrases such as \u201ctiny and timid\u201d and \u201csweet sleep,\u201d as well as word repetition with phrases such as \u201cquick-footed, quick-winged,\u201d which resemble the alliteration of the original Latin: pedibus celerem et pernicibus alis<\/em> (4.176\u2013179, 185). But for the most part, Ruden seeks to completely reinterpret the Latin, like in the phrase \u201cHer claws hold both true news and evil lies\u201d for tam ficti pravique tenax quam nuntia veri<\/em> (188), while the original Latin might literally translate to \u201cholding on as much to false and crooked things as to being a messenger of the truth.\u201d Ruden uses her liberty as a translator to alter the Latin to fit the grandiose style of her translation. In this phrase, Ruden\u2019s most notable modification is translating the adjective tenax <\/em>with the noun \u201cclaws,\u201d adding to the passage\u2019s bird-like imagery, rather than simply as \u201ctenacious\u201d (188). This rearrangement of the original passage displays Ruden\u2019s frequent decision to completely depart from Vergil\u2019s word choice and verse.<\/p>\n

Ruden prefers a loftier, more exaggerated translation, often opting for rare or unusual word choices rather than the expected English translations. \u201cA blaring mouth\u201d for ora sonant <\/em>not only alters the number from plural \u201cmouths\u201d to singular, but the verb becomes an adjective describing the one \u201cmouth\u201d (183). \u201cBlaring\u201d is also a slightly jarring translation for sonant, <\/em>which is typically understood to mean either \u201cspeaking\u201d or simply \u201cmaking a sound.\u201d Similarly, for the Latin word populos, <\/em>with its clear English cognate \u201cpeople,\u201d she chooses the more mythical and outdated word \u201crealms\u201d (189). While Shadi Bartsch uses her liberty as a translator to remain as faithful as possible to the original Latin, emulating Vergil\u2019s tone by attempting to directly copy his words into English without losing his meter or meaning, Sarah Ruden disregards the details of Vergil\u2019s Latin to reproduce the magnificent style and heroic design of the Aeneid <\/em>in reimagined English. With her over-the-top, dramatic translations, Ruden creates an atmosphere of fantasy and magnificence suitable for an epic poem full of legends, battles, and fated destinies.<\/p>\n

Re-written Verse Translation \u2013 Aeneid<\/em> 4.173-197<\/p>\n

[Based on \u201cRumour Has It<\/a>\u201d by Adele from the perspective of Italy, personified]<\/p>\n

\u201cNow Rumor has it\u201d that you\u2019ve forgotten your path,<\/p>\n

You\u2019re giving into Dido and her beautiful wrath.<\/p>\n

\u201cHaven\u2019t you heard the rumors\u201d that are filling the streets?<\/p>\n

They know you as Aeneas, a hero despite the Greeks.<\/p>\n

\u201cNow Rumor has it\u201d that \u201cyou\u2019ve got your head in the clouds,\u201d<\/p>\n

That you\u2019ve forgotten your kingdom, that\u2019s what\u2019s heard in the crowds.<\/p>\n

That Dido wants to marry you, says Rumor flying swiftly,<\/p>\n

But please don\u2019t forget, Aeneas, that \u201cyou and I have history.\u201d<\/p>\n

\u201cNow Rumor\u201d sings these tales (so amazing to say),<\/p>\n

But \u201cshe is a stranger,\u201d boy, don\u2019t give your fate away.<\/p>\n

\u201cAll these words\u201d the quick goddess does \u201cwhisper in my ear,\u201d<\/p>\n

Although her image makes it hard to have faith in what I hear.<\/p>\n

\u201cNow Rumor has it\u201d that \u201cshe made a fool out of you,\u201d<\/p>\n

Exposing all your winter plans madly as she flew.<\/p>\n

Speeding \u2018round at night, all I see is gleaming eyes,<\/p>\n

But when it comes to gossip, well, \u201cshe\u2019s got it all\u201d in the skies.<\/p>\n

\u201cNow Rumor has it\u201d Dido melts your heart, \u201ccold to the core\u201d<\/p>\n

Now Rumor reaches Iarbas and she brings the heat some more.<\/p>\n

Although she has the beauty, and I guess that\u2019s why you \u201cstrayed,\u201d<\/p>\n

\u201cIs that really what you want,\u201d Aeneas, what of the Trojan name?<\/p>\n

Works Cited<\/h3>\n

Bartsch, Shadi, translator. The Aeneid<\/em>. By Vergil, Random House, 2021.<\/p>\n

Ruden, Sarah, translator. The Aeneid. <\/em>By Vergil, Yale University Press, 2021.<\/p>\n","protected":false},"excerpt":{"rendered":"

Virginia Hargraves (’27) discusses the Rumor passage in Book 4 of the Aeneid, examining the recent translations of Shadi Bartsch and Sarah Ruden, then offers an adaptation of her own, based on “Rumor Has It” by Adele. Extemplo Libyae magnas it Fama per urbes, Fama, malum qua non aliud uelocius ullum: mobilitate uiget uirisque adquirit … Continue reading Translating Rumor (Vergil, Aeneid 4.173-197)<\/span><\/a><\/p>\n","protected":false},"author":65,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-419","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/blogs.dickinson.edu\/classicalstudies\/wp-json\/wp\/v2\/posts\/419","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.dickinson.edu\/classicalstudies\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.dickinson.edu\/classicalstudies\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/classicalstudies\/wp-json\/wp\/v2\/users\/65"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/classicalstudies\/wp-json\/wp\/v2\/comments?post=419"}],"version-history":[{"count":0,"href":"https:\/\/blogs.dickinson.edu\/classicalstudies\/wp-json\/wp\/v2\/posts\/419\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.dickinson.edu\/classicalstudies\/wp-json\/wp\/v2\/media?parent=419"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/classicalstudies\/wp-json\/wp\/v2\/categories?post=419"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/classicalstudies\/wp-json\/wp\/v2\/tags?post=419"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}