Samuel Johnson, Lives of the Poets: Tickell

The poetical incident of most importance in Tickell’s life was his publication of the first book of the “Iliad,” as translated by himself, an apparent opposition to Pope’s “Homer,” of which the first part made its entrance into the world at the same time.  Addison declared that the rival versions were both good, but that Tickell’s was the best that ever was made; and with Addison, the wits, his adherents and followers, were certain to concur.  Pope does not appear to have been much dismayed, “for,” says he, “I have the town—that is, the mob—on my side.”  But he remarks “that it is common for the smaller party to make up in diligence what they want in numbers.  He appeals to the people as his proper judges, and if they are not inclined to condemn him, he is in little care about the highflyers at Button’s.”

Pope did not long think Addison an impartial judge, for he considered him as the writer of Tickell’s version.  The reasons for his suspicion I will literally transcribe from Mr. Spence’s Collection:—

“There had been a coldness,” said Mr. Pope, “between Mr. Addison and me for some time, and we had not been in company together, for a good while, anywhere but at Button’s Coffee House, where I used to see him almost every day.  On his meeting me there, one day in particular, he took me aside and said he should be glad to dine with me at such a tavern, if I stayed till those people were gone (Budgell and Philips).  He went accordingly, and after dinner Mr. Addison said ‘that he had wanted for some time to talk with me: that his friend Tickell had formerly, whilst at Oxford, translated the first book of the Iliad; that he designed to print it, and had desired him to look it over; that he must therefore beg that I would not desire him to look over my first book, because, if he did, it would have the air of double-dealing.’  I assured him that I did not at all take it ill of Mr. Tickell that he was going to publish his translation; that he certainly had as much right to translate any author as myself; and that publishing both was entering on a fair stage.  I then added that I would not desire him to look over my first book of the Iliad, because he had looked over Mr. Tickell’s, but could wish to have the benefit of his observations on my second, which I had then finished, and which Mr. Tickell had not touched upon.  Accordingly I sent him the second book the next morning, and Mr. Addison a few days after returned it, with very high commendations.  Soon after it was generally known that Mr. Tickell was publishing the first book of the Iliad, I met Dr. Young in the street, and upon our falling into that subject, the doctor expressed a great deal of surprise at Tickell’s having had such a translation so long by him.  He said that it was inconceivable to him, and that there must be some mistake in the matter; that each used to communicate to the other whatever verses they wrote, even to the least things; that Tickell could not have been busied in so long a work there without his knowing something of the matter; and that he had never heard a single word of it till on this occasion.  This surprise of Dr. Young, together with what Steele has said against Tickell in relation to this affair, make it highly probable that there was some underhand dealing in that business; and indeed Tickell himself, who is a very fair worthy man, has since, in a manner, as good as owned it to me.  When it was introduced into a conversation between Mr. Tickell and Mr. Pope by a third person, Tickell did not deny it, which, considering his honour and zeal for his departed friend, was the same as owning it.”

Upon these suspicions, with which Dr. Warburton hints that other circumstances concurred, Pope always in his “Art of Sinking” quotes this book as the work of Addison.

To compare the two translations would be tedious; the palm is now given universally to Pope, but I think the first lines of Tickell’s were rather to be preferred; and Pope seems to have since borrowed something from them in the correction of his own.

Hippocrates of Cos, Nature of Man 13

“However many diseases develop quickly and whose causes are well-known turn out to be those whose progression can be foretold most certainly. The patient needs to provide their own cure by taking action against the cause of the disease. This is the way to remove what exposes the body to disease.”

Ὅσα τῶν νοσημάτων ἐξ ὀλίγου γίνεται, καὶ ὅσων αἱ προφάσιες εὔγνωστοι, ταῦτα δὲ ἀσφαλέστατά ἐστι προαγορεύεσθαι· τὴν δὲ ἴησιν χρὴ ποιεῖσθαι αὐτὸν ἐναντιούμενον τῇ προφάσει τῆς νούσου· οὕτω γὰρ ἂν λύοιτο τὸ τὴν νοῦσον παρασχὸν ἐν τῷ σώματι.

Cicero, De Senectute 69

“But the young person hopes to live for a long time, a very hope which the old person cannot hold. They hope unwisely for what is more foolish than to take uncertainty for certainty and falsehood for truth. They claim also that the old person has nothing to hope for. But the elderly are in a better place than the young because the young merely hope for what the elderly have obtained and the one wishes to live long, while the other has already done so.”

At sperat adulescens diu se victurum, quod sperare idem senex non potest. Insipienter sperat; quid enim stultius quam incerta pro certis habere, falsa pro veris? At senex ne quod speret quidem habet. At est eo meliore condicione quam adulescens, quoniam id quod ille sperat hic consecutus est: ille volt diu vivere, hic diu vixit.

Samuel Johnson, Life of Cowley:

The Pindarique odes are now to be considered; a species of composition, which Cowley thinks Pancirolus might have counted in “his list of the lost inventions of antiquity,” and which he has made a bold and vigorous attempt to recover.

The purpose with which he has paraphrased an Olympick and Nemaean ode, is, by himself, sufficiently explained. His endeavour was, not to show “precisely what Pindar spoke, but his manner of speaking.” He was, therefore, not at all restrained to his expressions, nor much to his sentiments; nothing was required of him, but not to write as Pindar would not have written.

Of the Olympick ode, the beginning is, I think, above the original in elegance, and the conclusion below it in strength. The connexion is supplied with great perspicuity; and the thoughts, which, to a reader of less skill, seem thrown together by chance, are concatenated without any abruption. Though the English ode cannot be called a translation, it may be very properly consulted as a commentary.

The spirit of Pindar is, indeed, not every where equally preserved. The following pretty lines are not such as his deep mouth was used to pour:

Great Rhea’s son,
If in Olympus’ top, where thou
Sitt’st to behold thy sacred show,
If in Alpheus’ silver flight,
If in my verse thou take delight,
My verse, great Rhea’s son, which is
Lofty as that, and smooth as this.

In the Nemaean ode the reader must, in mere justice to Pindar, observe, that whatever is said of “the original new moon, her tender forehead, and her horns,” is super-added by his paraphrast, who has many other plays of words and fancy unsuitable to the original, as

The table, free for ev’ry guest,
No doubt will thee admit,
And feast more upon thee, than thou on it.

He sometimes extends his author’s thoughts without improving them. In the Olympionick an oath is mentioned in a single word, and Cowley spends three lines in swearing by the Castalian stream. We are told of Theron’s bounty, with a hint that he had enemies, which Cowley thus enlarges in rhyming prose:

But in this thankless world the giver
Is envied even by the receiver;
‘Tis now the cheap and frugal fashion
Rather to hide than own the obligation:
Nay, ’tis much worse than so;
It now an artifice does grow
Wrongs and injuries to do,
Lest men should think we owe.

It is hard to conceive that a man of the first rank in learning and wit, when he was dealing out such minute morality in such feeble diction, could imagine, either waking or dreaming, that he imitated Pindar.