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CHAPTER XV.

The Genius of the Translator should be akin to that of the Original Author.-The best Translators have shone in Original Composition of the same Species with that which they have translated.—Of Voltaire's Translations from Shakespeare.-Of the Peculiar Character of the Wit of Voltaire, His Translation from Hudibras. Excellent Anonymous French Translation of Hudibras.-Translation of Rabelais by Urquhart and Motteux.

FROM the consideration of those general rules of translation which in the foregoing chapters I have endeavoured to illustrate, it will appear no unnatural conclusion to as

sert, that he only is perfectly accomplished for the duty of a translator who possesses a genius akin to that of the original author. I do not mean to carry this proposition so far as to affirm, that in order to give a perfect translation of the works of Cicero, a man must actually be as great an orator, or inherit the same extent of philosophical genius; but he must have a mind capable of discerning the full merits of his original, of attending with an acute perception to the whole of his reasoning, and of entering with warmth and energy of feeling into all the beauties of his composition. Thus we shall observe invariably, that the best translators have been those writers who have composed original works of the same species with those which they have translated. The mutilated version which yet remains to us of the Timæus of Plato translated by Cicero, is a masterly composition, which, in the opinion of the best judges, rivals the merit of the original. A similar commendation cannot be bestowed on those fragments of the Phænomena of Aratus, translated into verse by the same author; for Cicero's poe

tical talents were not remarkable; but who can doubt, that had time spared to us his versions of the Orations of Demosthenes and Æschines, we should have found them possessed of the most transcendent merit?

We have observed, in the preceding part of this Essay, that poetical translation is less subjected to restraint than prose translation, and allows more of the freedom of original composition. It will hence follow, that to exercise this freedom with propriety, a translator must have the talent of original composition in poetry; and therefore, that in this species of translation, the possession of a genius akin to that of his author, is more essentially necessary than in any other. We know the remark of Denham, that the subtle spirit of poesy evaporates entirely in the transfusion from one language into another, and that unless a new, or an original spirit, is infused by the translator himself, there will remain nothing but a caput mortuum. The best translators of poetry, therefore, have been those who have approved their talents in original poetical

composition. Dryden, Pope, Addison, Rowe, Tickell, Pitt, Warton, Mason, and Murphy, rank equally high in the list of original poets, as in that of the translators of poetry.

BUT as poetical composition is various in its kind, and the characters of the different species of poetry are extremely distinct, and often opposite in their nature, it is very evident, that the possession of talents adequate to one species of translation, as to one species of original poetry, will not infer the capacity of excelling in other species, of which the character is different. Still further, it may be observed, that as there are certain species of poetical composition, as, for example, the Dramatic, which, though of the same general character in all nations, will take a strong tincture of difference from the manners of a country, or the peculiar genius of a people; so it will be found, that a poet, eminent as an original author in his own country may fail remarkably in attempting to convey, by a translation, an idea of the merits of a foreign work which is tinctured by the national ge

nius of the country which produced it. Of this we have a striking example in those translations from Shakespeare by Voltaire; in which the French poet, eminent himself in dramatical composition, intended to convey to his countrymen a just idea of our most celebrated author in the same department. But Shakespeare and Voltaire, though perhaps akin to each other in some of the great features of the mind, were widely distinguished, even by nature, in the characters of their poetical genius; and this natural distinction was still more sensibly encreased by the general tone of manners, the hue and fashion of thought of their respective countries. Voltaire, in his Essay sur la Tragédie Angloise, has chosen the famous soliloquy in the tragedy of Hamlet, "To be,

or not to be," as one of those striking passages which best exemplify the genius of Shakespeare, and which, in the words of the French author, demandent grace pour toutes ses fautes. It may therefore be presumed, that the translator in this instance endeavoured, as far as lay in his power, not only to adopt the spirit of his author, but to re

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