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The Poetry of TranslationFrom Chaucer & Petrarch to Homer & Logue$
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Matthew Reynolds

Print publication date: 2011

Print ISBN-13: 9780199605712

Published to Oxford Scholarship Online: January 2012

DOI: 10.1093/acprof:oso/9780199605712.001.0001

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Dryden's Aeneis: ‘a thousand secret beauties’

Dryden's Aeneis: ‘a thousand secret beauties’

Chapter:
(p.101) 12 Dryden's Aeneis: ‘a thousand secret beauties’
Source:
The Poetry of Translation
Author(s):

Matthew Reynolds

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199605712.003.0012

In later critical writing, Dryden developed the idea that his translations could reveal what was ‘secretly in’ the source poet. The poet with the most secrets was Virgil: they included prophetic relevance to future times and (most importantly) the sparks of illocutionary force created by his style. I illustrate Dryden's practice of opening with a discussion of Book 10. I go on to show that Dryden's awareness of himself as ‘opening’ these secrets takes on a particular edge at times when there is the possibility of a secret being opened in the source text—for instance in Book 2 when Laocoon almost discovers the Greek warriors hidden in the wooden horse, or when Anchises interprets an omen.

Keywords:   opening, secret, prophecy, illocutionary force, Virgil, Aeneid, Dryden, Laocoon, Anchises, fate

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