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August, 1888 AD (search for this): chapter 18
glish is Matthew Arnold's Essay on Translating Homer; or rather it would be, but for its needless and diffuse length, which prevents many persons from really mastering it; but I do not see how any one, after reading it, can look through a page of Bryant's version without a sense of its utter tameness and its want of almost all the qualities defined by Arnold as essential to Homer. Mr. Lawton has finely said, at the beginning of his admirable papers on Aeschylus in the Atlantic Monthly August, 1888. that the Homeric poems offer us, as it were, a glimpse of a landscape scene by a flash of lightning. What came before and immediately after we cannot discern. But in Bryant's translation there is substituted for the flash of lightning the very mildest moonlight; and there seems no particular reason, from anything in the tone or flavor of his narrative, why the whole series of events should not have taken place on Staten Island. Mr. Bryant undoubtedly had, in his youth, something of Lo
August 1st, 1888 AD (search for this): chapter 18
strong instinct for translation, extending through both its branches. Miss Mitford says of one of her heroes in a country town, He translated Horace, as all gentlemen do; and Mrs. Austin speaks of Goethe's Faust as that untranslatable poem which every Englishman translates. Americans are not behind their British cousins in these labors; and Professor Boyesen —who, as a Norseman by birth and an American by adoption, is free of all languages—has written an agreeable paper in Book News 1 August, 1888. on the general subject of translations. In this he says that America has produced three of the greatest translators of modern times; a statement which every patriotic American would perhaps indorse, were he himself only allowed to make the selection. To two out of three of Mr. Boyesen's favorites I should certainly take decided objection; and, curiously enough, should nominate as substitutes two other translators of the very books he selects as test-subjects for rendering. About L
l and commanding class of translators insert themselves into the work of their authors; thus Chapman so Chapmanizes Homer that in the long run his version fails to give pleasure; and Fiztgerald has whole lines in his Agamemnon which are not in Aeschylus and are almost indistinguishable in flavor from his Omar Khayyam. Even Mrs. Austin, in that exquisite version quoted by Longfellow in his Hyperion, beginning Many a year is in its grave, has infused into it a tinge of dreamy sentiment sliging it, can look through a page of Bryant's version without a sense of its utter tameness and its want of almost all the qualities defined by Arnold as essential to Homer. Mr. Lawton has finely said, at the beginning of his admirable papers on Aeschylus in the Atlantic Monthly August, 1888. that the Homeric poems offer us, as it were, a glimpse of a landscape scene by a flash of lightning. What came before and immediately after we cannot discern. But in Bryant's translation there is subs
he transference of his author's language seemed like a sixth sense or a special gift for that one purpose. Placing side by side his German ballads and their originals, one neither detects anything of Longfellow put in nor anything of Uhland or Heine left out. The more powerful and commanding class of translators insert themselves into the work of their authors; thus Chapman so Chapmanizes Homer that in the long run his version fails to give pleasure; and Fiztgerald has whole lines in his Agamemnon which are not in Aeschylus and are almost indistinguishable in flavor from his Omar Khayyam. Even Mrs. Austin, in that exquisite version quoted by Longfellow in his Hyperion, beginning Many a year is in its grave, has infused into it a tinge of dreamy sentiment slightly beyond that conveyed by Uhland in the original. It is perhaps more beautiful, as it stands, than any of Longfellow's ballad-versions; but it is less perfect as a rendering. It is possible that Longfellow's own meth
extending through both its branches. Miss Mitford says of one of her heroes in a country town, He translated Horace, as all gentlemen do; and Mrs. Austin speaks of Goethe's Faust as that untranslatable poem which every Englishman translates. Americans are not behind their British cousins in these labors; and Professor Boyesen —who, as a Norseman by birth and an American by adoption, is free of all languages—has written an agreeable paper in Book News 1 August, 1888. on the general subjectre difficult work of Jean Paul Richter. These he handled, especially the Hesperus and Titan, with a felicity and success unequalled among Richter's translators; and it is an illustration of the ignorance in England of the successes achieved by Americans in this direction, that Mr. Brooks's works of this series are there so little recognized. Another remarkable American translator from the German is Charles G. Leland, whose version of Heine's Reisebilder under the name of Pictures of Travel is
Matthew Arnold (search for this): chapter 18
is of a genius for translating; the longer a man works, the more precise he becomes. The second of Mr. Boyesen's great American translators is Bryant; and here I should utterly dissent from him. The best introduction to Homer in English is Matthew Arnold's Essay on Translating Homer; or rather it would be, but for its needless and diffuse length, which prevents many persons from really mastering it; but I do not see how any one, after reading it, can look through a page of Bryant's version without a sense of its utter tameness and its want of almost all the qualities defined by Arnold as essential to Homer. Mr. Lawton has finely said, at the beginning of his admirable papers on Aeschylus in the Atlantic Monthly August, 1888. that the Homeric poems offer us, as it were, a glimpse of a landscape scene by a flash of lightning. What came before and immediately after we cannot discern. But in Bryant's translation there is substituted for the flash of lightning the very mildest moo
Henry Austin (search for this): chapter 18
XVII American translators the English-speaking race has a strong instinct for translation, extending through both its branches. Miss Mitford says of one of her heroes in a country town, He translated Horace, as all gentlemen do; and Mrs. Austin speaks of Goethe's Faust as that untranslatable poem which every Englishman translates. Americans are not behind their British cousins in these labors; and Professor Boyesen —who, as a Norseman by birth and an American by adoption, is free of alors; thus Chapman so Chapmanizes Homer that in the long run his version fails to give pleasure; and Fiztgerald has whole lines in his Agamemnon which are not in Aeschylus and are almost indistinguishable in flavor from his Omar Khayyam. Even Mrs. Austin, in that exquisite version quoted by Longfellow in his Hyperion, beginning Many a year is in its grave, has infused into it a tinge of dreamy sentiment slightly beyond that conveyed by Uhland in the original. It is perhaps more beautifu
by Longfellow in his Hyperion, beginning Many a year is in its grave, has infused into it a tinge of dreamy sentiment slightly beyond that conveyed by Uhland in the original. It is perhaps more beautiful, as it stands, than any of Longfellow's ballad-versions; but it is less perfect as a rendering. It is possible that Longfellow's own method swerved a little, in his later years, toward over-literalness. There are many who prefer the freer and more graceful movement of his Vision of Beatrice in the Ballads and other Poems to the stricter measure of the same passage in his completed translation. This last work has truly, as Mr. Boyesen says, an air of constraint; but I think he is in error in attributing this quality to the influence of those who met to criticise Longfellow's work; it was rather due to the strong hold taken, by the theory of a literal rendering, on the poet's mind. Overliteral-ness appears to be the Nemesis of a genius for translating; the longer a man works,
H. H. Boyesen (search for this): chapter 18
ind their British cousins in these labors; and Professor Boyesen —who, as a Norseman by birth and an American bed to make the selection. To two out of three of Mr. Boyesen's favorites I should certainly take decided obje no difference of opinion. He seems to me, as to Mr. Boyesen, to rank first among those who have made translatsolutely combining the two methods; a thing which Mr. Boyesen thinks—but, I should say, mistakenly—cannot be done. Mr. Boyesen's dictum that no poetic translation can be good and literal at the same time, is refuted by thpleted translation. This last work has truly, as Mr. Boyesen says, an air of constraint; but I think he is in ks, the more precise he becomes. The second of Mr. Boyesen's great American translators is Bryant; and here the Father of Poetry is, in my judgment, one whom Mr. Boyesen does not name, and perhaps does not yet know, so hat may be, which separates prose from poetry. Mr. Boyesen's third great American translator is Bayard Taylo<
Hans Breitmann (search for this): chapter 18
et it is in dealing with the oft-translated First Part that the higher poetic qualities come in; and in this Taylor has been easily surpassed, I should say, by the late Charles T. Brooks. And while Brooks, it is true, stopped short of the longer and more laborious Second Part, yet he made up for that by his remarkable series of versions of the yet more difficult work of Jean Paul Richter. These he handled, especially the Hesperus and Titan, with a felicity and success unequalled among Richter's translators; and it is an illustration of the ignorance in England of the successes achieved by Americans in this direction, that Mr. Brooks's works of this series are there so little recognized. Another remarkable American translator from the German is Charles G. Leland, whose version of Heine's Reisebilder under the name of Pictures of Travel is so extraordinarily graphic and at the same time so literal that it ought of itself to achieve a permanent fame for the author of Hans Breitmann.
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