their ideal illustrations which might have
been by Arthur Rackham. 1 have always
liked the Metamorphoses, and these transla-
tions are perfect for the 1990s,
‘You cannot have everything, of course.
References to the Caesars and to amber
created for Roman women inject a note of
bathos, and the whole idea of a continuous
history of transformations down to. the
pothesis of Aeneas, and the catastasis of
Julius Caesar as a comet, has to be swept
‘under the carpet. I was personally grieved
by the loss of Cerambus, who was turned
into a stag-beetle for offending the nymphs
by refusing to observe the set times for
moving flocks down from the mountains.
Why a stag-beetle I cannot imagine, but
difficulties of scale make many transfigura-
tions all the more terrifying. Ascalaphus
‘turning into an ov is measured and terrify-
ing, yet Narcissus is far more convincing as
a flower than he was as a boy. I fear from
this last case and that of Salmacis and the
composition of the first Hermaphrodite,
that Ted Hughes cannot summon up the
homosexual lechery which is available to
the best Ovidian poets
Nor are his gods perfectly convincing,
but then neither are Ovid's, and he is excel-
Tent with Ceres as a witch, and the oak that
dooms Erisychthon. Ovid did, after all,
have a strain of vulgarity that one might
call hoggish, and Ted Hughes does not like
to follow that. He is not addicted to Ovid's,
thetoric, which had become second nature
to the ancient world, though the Laureate
retains more appetite for paradoxes than
‘most poets of his age. His treatment of
Pyramus and Thisbe, a story Shakespeare
‘mocks, and of Venus and Adonis, which
Shakespeare treated with an astonishing
freshness, is evenly brilliant and makes one
‘think again twice.
‘There is a certain grandiosity, a long-
windedness about Ovid that can curl
around every subject like an octopus and
never tire between heaven and earth, which
is beyond the range of any selection or
adaptation. The verse has a laureate solidi-
ty, and now and again pleasantly recalls the
iambic pentameter, so that it would be
hard to parody. Has anything much been
lost by abandoning old-fashioned English
metres and old-fashioned linguistic
restraint and severity? Not as much as you
right darkly expect. Ovid, as he is treated
here, is fresh and shocking in the precision
of his cruelty, the sensuous pushing of his
lechery, which was remarkable even in his
Roman heyday. One can see through the
translation that he took a lot from Virgil,
but only like a dog tugging pieces from a
as a living animal is too
‘eat a poct for his comprehension, yet it
‘may be from just such lesser poets as Ovid,
with his more obvious insights, that we
should seek to learn, because we have
become, in a way, barbarians.
We need some notes, which we do not
get, about the Corinthian Bacchiae and
‘Eymanthis, let along ‘Harmonia’, if we are
‘THE SPECTATOR 10 May 1997
not to have recourse to long, full commen-
taries. The introduction is one of those
admirably written short essays for which
the Laureate is famous, but it could be
lengthened with no harm done. Some of
‘the geography in the translation comes out
‘extremely queerly, let alone the names of
persons, which are queer enough in Ovid:
Pandion, King of Athens, for example, who
was only the personification of the Pandia,
the feast of Zeus. ‘King Pandion he is
dead, and all his minions lapped in lead’
that ‘is all the oldfashioned reader of
poetry ever called to mind about him.
‘There are many more exciting phrases in
‘Ted Hughes, but none more oddly memo-
rable,
Trusted by
two,
loyal to one
Kevin Myers
FIFTY DEAD MEN WALKING
by Martin MeGartland
‘Blake, £16.99, pp. 248
"Toe tecoe nee 2 1
mildly, a literary device popular in Ireland.
If ever an individual could alter that narra-
tive tendency, it is Martin McGartland,
‘whose informing from within the IRA 10
the RUC saved as many as 50 lives in
Belfast in the early 1990s, His ultimate sur-
vival apparently owed less to the care and
professionalism of his masters in the RUC
Special Branch than to his own cool nerve,
his ingeniousness and his sturdy Ballymur-
phy frame,
McGartland’s is frankly an incredible
tale which has been largely confirmed by
reliable investigators such as John Ware
and Liam Clarke. Unfortunately, McGart-
land's credibility has not been enhanced by
his English ghost-writer who misspells sim-
ple Trish place names like Shankill Road
and Enniskillen, and who even, God help
tus, has McGartland referring to the ‘loo’.
1 am unconvinced too as to motive
few informers work solely for the virtuous
principle which McGartland’s ghost-writer
Insists drove him; but then what convin:
‘motive i there for the life ofthe informer,
for whom torture and execution are daily
— and nightly — apprehensions?
Martin McGartland was the sort of reli
able mechanic-type figure IRA. commat
drs felt they could speak freely infront of.
But he had been an informer even before
joining the IRA, and his police handlers
‘must have listened in mounting wonder as
information from this raw teenage recruit
soon enabled them to disrupt major TRA
‘operations on an almost daily bass. (Po
bly life with his mother — a foul-mouthed
hhartidan of a kind not unfamiliar to anyone
who has worked in Belfast — had given
him a good apprenticeship in how to dis-
semble before force majeure)
He was a classic agent — teetotal, hard~
working, diligent, seemingly reliable to
both sets of masters, but true only to one.
His schizophrenic life required breath-
taking courage, for the IRA internal securi-
ty unit, which rejoices in the splendidly
Stalinist name of Civil Administration
Team, and which could give the Geheim
Staatspolizei lessons in cruelty, was and
remains satanically vigilant in its pursuit of
informers.
‘A most striking feature of McGartland’s
tale is the intellectual and moral trviality
Of those he was informing on, IRA leaders
for whom the murder of insignificant mem
bers of the security forces was in reality no
more than an index of their determination
to get what they wanted. But it was not a
means; nor could it be translated into one.
‘Tree-felling could have been just as effica-
cious. The ereation of a united Ireland is
totally unrelated to the activities of the
IRA, Which were based on primitive notions
Cf organisational and personal gratification
through violence, as if a terrorist killing-
contest could achieve a political victory,
rather as goals win a football match.
Finally, already under suspicion by the
IRA, he’ tipped off the RUC about a
planned massacre of off-duty soldiers,
insisting that he too was now in danger.
‘The massacre was prevented and some ter-
rorists arrested, but he was not withdrawn.
He then warned the RUC that the CAT
‘was on to him, He was promised complete
surveillance and protection.
‘This did not materialise when the arrest
‘occurred. He was taken to that certain pre-
ude to execution, the IRA bath — a terri-
ble end in which the victim's head is
repeatedly dunked in a bath full of cold
water over as long a period as necessary
(days, even weeks) until he or she makes @
full confession of whatever the IRA wants
to hear. He escaped, miraculously, by
diving head first through the plate-glass
‘window of a third storey fat
‘Terribly injured in his fall, he nonethe-
less survived, and now lives in England,
repeatedly changing homes and identities,
beyond the reach of IRA revenge. His
brother Joseph is not; so the IRA fraternal-
ly strung him up by his heels and heat him
with iron bars and nail-studded clubs, shat-
tering his arms, legs and ribcage and erip-
pling him for life
This we know to be true. Perhaps some
of what Martin says in this account is imag-
ined. Most of itis not. It is one of the most
extraordinary stories to have emerged from
Northern Ireland's troubles, which, God
knows, have produced few enough known
heroes. Martin McGartland is one of them.