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Updated: May 1, 2025
This was placed like a preamble at the beginning of the volume which he carried with him in his walks, and he had learned it by heart a few days before. The better to penetrate the sense of these admirable lines, he tried to translate them into French alexandrines, which he sometimes composed.
The marionnettes made a very dismal entertainment. They performed a piece, called Pyramus and Thisbe, in five mortal acts, and all written in Alexandrines fully as long as the performers. One marionnette was the king; another the wicked counsellor; a third, credited with exceptional beauty, represented Thisbe; and then there were guards, and obdurate fathers, and walking gentlemen.
"I rendered the verses from the Italian of an old harper whom I met in Cyprus, and not having had time either to translate it accurately or commit it to memory, I am fain to supply gaps in the music and the verse as I can upon the spur of the moment, as you see boors mend a quickset fence with a fagot." "Nay, on my faith," said the King, "I like these rattling, rolling Alexandrines.
Once a week the theaters must be free, when Chenier's alexandrines are spouted on the stage to the edification of the delegates, crowded into the boxes at the expense of the State.
Of an entirely different character is the version of Racine's 'Phedre', which, as we have seen, was finished a few weeks before Schiller's death. Here we have for the first time what can properly be called a poetic translation. To a large extent Schiller's version is a line-for-line rendering of the French alexandrines into German pentameters, a thing by no means easy to do.
If your Homers talk in their sleep, and your Herculeses kill flies with their clubs if every one who knows how to give vent to his portion of sorrow in dreary Alexandrines, interprets that as a call to Helicon, shall we northerns be blamed for tinkling the Muses' lyre?
The greater part is written either in fourteeners or in decasyllabic couplets with occasional alexandrines, in both of which the author displays an ease and mastery which, to say the least, were uncommon in the dramatic work of the early eighties; while the passages of blank verse introduced at important dramatic points, notably in Paris' defence and in Diana's speech, are the best of their kind between Surrey and Marlowe.
I feel that it is almost impossible for the same ear to seize music so widely differing as Milton's blank verse and Hugo's alexandrines, and it seems to me especially strange that critics varying in degree from Matthew Arnold to the obscure paragraphist, never seem even remotely to suspect, when they passionately declare that English blank verse is a more perfect and complete poetic instrument than French alexandrines, that the imperfections which they aver are inherent in the latter exist only in their British ears, impervious to a thousand subtleties.
The poetry of Queen Anne's time and thereabouts, I judge to have been at the lowest bathos of badness; all satyrs, and swains, fulsome flattery of titles, and foolish adoration of painted shepherdesses: poor weak hobbling lines, eked out by 'eds and expletives, often terminated by false rhymes, and made lamer by triplets and dreary Alexandrines; ill-selected subjects, laboured, indelicate, or impossible similes, passions frigid as Diana, wit's weapons dull as lead.
To Swift's edict for the exclusion of alexandrines and triplets he paid little regard; he admitted them, but, in the opinion of Fenton, too rarely; he uses them more liberally in his translation than his poems. He has a few double rhymes, and always, I think, unsuccessfully, except once in the "Rape of the Lock."
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