The National Review has a nice interview with Sarah Ruden, the latest translator to grapple with Virgil’s Aeneid. For the classics geeks out there (barbarians, skip to the bottom graf), here is her translation of the those famous first lines, along with several other translations by way of comparison:

Original Latin

Sarah Ruden's translation (2009)

John Dryden Translation (17th Century)

Allen Mandelbaum's translation (1964)

Robert Fitzgerald's translation (1990)

Robert Fagles' translation (2006)
I’m partial to Mandelbaum’s version, but it is the only translation that I’ve managed to work through (although I’m bullish on Fagles, after reading his versions of the Iliad and the Odyssey). It is interesting to note the evolution of translation, from the loose and rhyming Dryden through the more prosaic Mandelbaum and Fitzgerald, to the more modern and literal Fagles and Ruden. Faithfulness to the text is a limited virtue – a straight literal translation is jarring to the English ear (trust me as a voice of experience here). Linguistics certainly influence thought, and it’s simply impossible to read to Latin as the Romans did. Yet in spite of their relative literalism, there’s a lot of merit in Ruden and Fagles work, which have a lot in common (one nitpick for Ruden: “harassed” is quite a gentle take on “iactatus,” which usually translates to “thrown”) – the loss in English prosaic beauty is made up by the rhythm of their works, both of which keep pace with the dactylic hexameter of the original.
Anyways, there are politics here, and there’s one answer of Druden’s that bothers me in particular:
At nineteen I had seized on Virgil’s Eclogues with a loopy teenage love. But I had a variety of distastes for the Aeneid. It’s a war poem, and I’m a Quaker pacifist. And a lot of the story is just hokey, and a lot of the tone bombastic or hysterical. These rhetorical faults, and killing as something well-intentioned people can do, only slowly came into perspective through a deeper experience of the exquisite language and the author’s superb balance of engagement and irony.
Working with the Aeneid did me a lot of good. I used to bear a cheap pacifist witness that is fairly typical — though not, I hasten to add, as typical among the Quakers and Mennonites with whom I hang out, and who should have been able to teach me better. But it took Virgil to persuade me that everything costs. If I want to be against war, I can’t just shoot off my mouth about it. I have to pay, as I do now: live in a small furnished apartment with a roommate, not own an appliance bigger than a humidifier that fits on a bookshelf, not even try to get a driver’s license but let roller-blades be my only thrill from wheels, not get married except to someone who’ll let me continue this sort of testimony.
What does getting a driver’s license have to go with going to war? Certainly, a doctrine of non-aggression is a tough principle to maintain – just ask your local “Bushitler” opponent how many protests s/he staged against the Bosnian War – but it doesn’t mean withdrawing from civil society. If anything, opposing war implies a re-engagement in civil society, through trade and other forms of free association.
Although the Aeneid is a war poem, it isn’t necessarily as full-throated a defense of the Roman imperium as many write it off to be. In Book VI (852-853), the dead Anchises describes the ethos of the future Roman Empire:
“hae tibi erunt artes; pacisque imponere morem,
parcere subiectis, et debellare superbos.”
“These arts are to you; to establish the law of peace
To spare the defeated, and to subdue the proud.”
A lofty vision, no doubt. So what does our hero Aeneas do the moment he finds himself establishing an empire on Italian soil (Book XII: translation courtesy A.S. Kline, emphasis added)?
Great Turnus sank, his knee bent beneath him, under the blow.
The Rutulians rose up, and groaned, and all the hills around
re-echoed, and, far and wide, the woods returned the sound.
He lowered his eyes in submission and stretched out his right hand:
‘I have earned this, I ask no mercy’ he said,
‘seize your chance. If any concern for a parent’s grief
can touch you (you too had such a father, in Anchises)
I beg you to pity Daunus’s old age and return me,
or if you prefer it my body robbed of life, to my people.
You are the victor, and the Ausonians have seen me
stretch out my hands in defeat: Lavinia is your wife,
don’t extend your hatred further.’ Aeneas stood, fierce
in his armour, his eyes flickered, and he held back his hand:
and even now, as he paused, the words began to move him
more deeply, when high on Turnus’s shoulder young Pallas’s
luckless sword-belt met his gaze, the strap glinting with its familiar
decorations, he whom Turnus, now wearing his enemy’s emblems
on his shoulder, had wounded and thrown, defeated, to the earth.
As soon as his eyes took in the trophy, a memory of cruel grief,
Aeneas, blazing with fury, and terrible in his anger, cried:
‘Shall you be snatched from my grasp, wearing the spoils
of one who was my own? Pallas it is, Pallas, who sacrifices you
with this stroke, and exacts retribution from your guilty blood.’
So saying, burning with rage, he buried his sword deep
in Turnus’s breast: and then Turnus’s limbs grew slack
with death, and his life fled, with a moan, angrily, to the Shades.
So much for sparing the defeated. This would become the defining characteristic of the Roman Empire, be it in the politically fueled conquest of Gaul, the salting of the earth at Carthage, or the quelling of Judea. Such is the way of empire, and thus it is fitting that this country – Pax Americana - has seen two separate translations of Virgil’s masterpiece in the last three years. We would be wise to listen to old Anchises, pious as Aeneas pretends to be.