{"1": {"fulltext": "", "height": "4015", "width": "2643", "jp2-path": "essayonprinciple00wood_0001.jp2"}, "2": {"fulltext": "Qass PN%4i\\nBook W j", "height": "3860", "width": "2408", "jp2-path": "essayonprinciple00wood_0002.jp2"}, "3": {"fulltext": "", "height": "3900", "width": "2364", "jp2-path": "essayonprinciple00wood_0003.jp2"}, "4": {"fulltext": "", "height": "3928", "width": "2468", "jp2-path": "essayonprinciple00wood_0004.jp2"}, "5": {"fulltext": "ESSAY\\nON THE\\nPRINCIPLES OF TRANSLATION.\\nL.", "height": "3932", "width": "2356", "jp2-path": "essayonprinciple00wood_0005.jp2"}, "6": {"fulltext": "1", "height": "3916", "width": "2484", "jp2-path": "essayonprinciple00wood_0006.jp2"}, "7": {"fulltext": "ESSAY\\nON THE\\nPRINCIPLES\\nOF\\nTRANSLATION\\n*^M GU-W^ 5*T O-M- 5 \\\\1\\nTHE THIRD EDITION,\\nWITH LARGE ADDITIONS AND ALTERATIONS.\\nWee converti ut Interpret, sed nt Orator, sententiis iisdem et earum formis\\ntanquam Jiguris, verbis ad nostram consuctudinem ajrtis.\\nCic. Be Opt. Gen. Orat. 14.\\nEDINBURGH\\nPrinted by NeiU Co.\\nFOR ARCHIBALD CONSTABLE CO. EDINBURGH\\nLONGMAN, HURST, REES, ORME BROWN,\\nAND CADELL AND DAVIES,\\nLONDON.\\n1813.", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0007.jp2"}, "8": {"fulltext": ".r.", "height": "3932", "width": "2468", "jp2-path": "essayonprinciple00wood_0008.jp2"}, "9": {"fulltext": "TO\\nJAMES GREGORY,\\nM. D. F. R. S. Edin.\\nPRINCIPAL PHYSICIAN TO HIS MAJESTY FOR SCOTLAND j\\nWHO, TO GREAT PROFESSIONAL ABILITY\\nAND EMINENCE IN GENERAL SCIENCE AND PHILOSOPHY,\\nUNITES THE MOST DISTINGUISHED CLASSICAL KNOWLEDGE\\nAND TASTE IN POLITE LITERATURE\\nTHIS ESSAY,\\nWHICH HAS BEEN HONOURED WITH HIS APPROBATION,\\nIS,\\nIN TOKEN OF A FRIENDSHIP\\nWHICH HAS STOOD THE TEST OF ALMOST HALF A CENTURY,\\nDEDICATED BY\\nALEX. FRASER TYTLER.\\nVOODHOUSELEE,\\nAugust 1812.", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0009.jp2"}, "10": {"fulltext": "", "height": "3932", "width": "2444", "jp2-path": "essayonprinciple00wood_0010.jp2"}, "11": {"fulltext": "PREFACE\\nTO THE\\nPRESENT EDITION.\\nJ n preparing for the Press a Third Edition\\nof this Essay, the Author has endeavoured,\\nby making ample additions to the matter of\\nthe Work, as well as by a careful revisal of\\nthe style) to render it less unworthy of that\\nvery flattering measure of approbation it has\\nreceived from the literary world. Sensible\\nthat the didactic precepts which form the\\nLaws of Translation, are best verified by\\nthe variety and aptness of the examples\\nbrought to illustrate them, he has in this\\nedition very considerably enlarged the num-\\nber of illustrations brought as examples\\nboth of excellencies and defects. Of these,\\nin so far as reason and good sense afford a\\ncriterion, the opinion of all intelligent rea-", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0011.jp2"}, "12": {"fulltext": "Vlll PREFACE,\\nders will probably be uniform. But, as it is\\nnot to be denied, that in many of the ex-\\namples adduced in this Essay* the appeal\\nlies not so much to any settled canons of\\ncriticism, as to individual taste it will not\\nbe surprising, if in such instances, a diversi-\\nty of opinion should take place and the\\nAuthor having exercised with great freedom\\nhis own judgment in such points, it would\\nill become him to blame others for using the\\nsame freedom in dissenting from his opi-\\nnions. The chief benefit to be derived from\\nall such discussions in matters of taste, does\\nnot so much arise from any certainty we can\\nobtain of the rectitude of our critical deci-\\nsions, as from the pleasing and useful exer-\\ncise which they give to the finest powers of\\nthe mind, and those which most distinguish\\nus from the inferior animals.\\nIn one material point at least, the Author\\nmay be allowed to flatter himself, that some\\nadvantage may accrue from his undertaking.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0012.jp2"}, "13": {"fulltext": "PREFACE. IX\\nIt will serve to demonstrate, that the Art of\\nTranslation is of more dignity and import-\\nance than has generally been imagined. It\\nwill afford sufficient conviction, that excel-\\nlence in this art is neither a matter of easy\\nattainment, nor what lies at all within the\\nreach of ordinary abilities since it not only\\ndemands those acquired endowments which\\nare the fruit of much labour and study, but\\nrequires a larger portion of native talents\\nand of genuine taste, than are necessary for\\nexcelling in many departments of original\\ncomposition.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0013.jp2"}, "14": {"fulltext": "", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0014.jp2"}, "15": {"fulltext": "CONTENTS,\\nPage\\nIntroduction, 1\\nCHAPTER I.\\nDescription of a good Translation. General Rules flow-\\ning from that description, 13\\nCHAPTER II.\\nFirst general Rule A Translation should give a com\\nplete transcript of the ideas of the original work.\\nKnowledge of the language of the original, and ac-\\nquaintance with the subject. Examples of imperfect\\ntransfusion of the sense of the original. What ought\\nto be the conduct of a Translator where the sense is am*\\nbiguous, n m 1/", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0015.jp2"}, "16": {"fulltext": "XH CONTENTS.\\nPage\\nCHAPTER III.\\nWhether it is allowable for a Translator to add to or re-\\ntrench the ideas of the original. Examples of the use\\nand abuse of this liberty. The liberty allowed to the\\nTranslator depends on the nature of the work, 35\\nCHAPTER IV.\\nOf the freedom allowed in poetical Translation. Pro-*\\ngress of poetical Translation in England. B. Johnson,\\nHoliday, May, Sandys, Fanshaw, Dryden. Roscom-\\nmon s Essay on Translated Verse* Pope s Homer, 63\\nCHAPTER V.\\nSecond general Ride The style ana) manner of wri-\\nting in a Translation should be of the same character\\nwith that of the original. Tanslations of the Scrip-\\ntures Of Homer, Qc A just taste requisite for the\\ndiscernment of the characters of style and manner.\\nExamples of failure in this particular The grave ex-\\nchanged for the formal the elevated for the bom-\\nbast; the lively for the petulant the simple for the\\nchildish Hobbes, Lf Estrange, Echard, $c. 109", "height": "3932", "width": "2424", "jp2-path": "essayonprinciple00wood_0016.jp2"}, "17": {"fulltext": "CONTENTS. Xlll\\nCHAPTER VI.\\nPage\\nExamples of a good Taste in poetical Translation*\\nV. Bournes Translations from Mallet and from\\nPrior. Dr Atterbury from Horace The Dukede\\nNivernois, from Horace. Dr Jortin, from Simo-\\nnides. Imitation of the same by the Archbishop\\nof York. Mr Glasse,from Masons Caractacus\\nMr Webb, from the Anthologia Grotius from the\\nsame. Hughes, from Claudian .fieattie, from\\nPope* Pope, from Boilcau. Fragments of the\\nGreek Dramatists, by Mr Cumberland, 141\\nCHAPTER VII.\\nLimitation of the Pule regarding the Imitation of\\nStyle. This Imitation must be regulated by the Ge*\\nnius of Languages. The Latin admits of a great-\\ner brevity of Expression than the English as does\\nthe French. The Latin and Greek allow of greater\\nInversions than the English, and admit more freely\\nof Ellipsis, 177\\nCHAPTER VIII.\\nWhether a Poem can be well translated into Prose, 201", "height": "3932", "width": "2360", "jp2-path": "essayonprinciple00wood_0017.jp2"}, "18": {"fulltext": "XIV CONTENTS.\\nCHAPTER IX.\\nPage\\nThird General Rule A Translation should have all\\nthe ease of original composition Extreme difficulty\\nin the observance of this rule Contrasted instances\\nof success and failure.\u00e2\u0080\u0094 Of the necessity of sacrifi-\\ncing one rule to another, 209\\nCHAPTER X.\\nIt is less difficult to attain the ease of original compo-\\nsition in Poetical, than in Prose Translation, Ly-\\nric Poetry admits of the greatest liberty of Trans-\\nlation, Examples distinguishing Paraphrase from\\nTranslation, from Dry den, Lowth, Fontenelle,\\nPrior, Anguillara, Hughes, 229\\nCHAPTER XL\\nOf the Translation of Idioms -General Idioms\\nIdiomatic Phrases. Examples from Spelman, SmoU\\nlet s Gil Bias, Cotton, Echard, Sterne. Injudicious\\nuse of Idioms in the Translation, which do not cor-\\nrespond with the age or country of the original.\\nIdiomatic Phrases sometimes incapable of Transla\\nHon, 251", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0018.jp2"}, "19": {"fulltext": "CONTENTS. XV\\nPag*\\nCHAPTER XII.\\nDifficulty of Translating Don Quixote, from its Idio-\\nmatic Phraseology Of the best Translations of\\nthat Romance Comparison of the Translation by\\nMotteux with that by Smollet, 281\\nCHAPTER XIII.\\nOther characteristics of Composition which render\\nTranslation difficult Antiquated Terms. New\\nTerms Verba Ardentia Simplicity of Thought\\nand Expression In Prose In Poetry Naivete\\nin the latter Chaulieu, Parnelle, Theocritus,\\nLa Fontaine. Series of Minute Distinctions mark-\\ned by characteristic Terms Strada Florid Style,\\nand vague expression Pliny s Natural History, 321\\nCHAPTER XIV.\\nOf Burlesque Translation Travesty and Parody\\nScarrons Virgile Travesti, Another species of\\nLudicrous Translation, 361", "height": "3952", "width": "2368", "jp2-path": "essayonprinciple00wood_0019.jp2"}, "20": {"fulltext": "XVI CONTENTS,\\nCHAPTER XV.\\nPage\\nThe genius of the Translator should be akin to that of\\nthe original author.-\u00e2\u0080\u0094 The best Translators have\\nshone in original composition of the same species\\nwith that which they have translated* Of VoU\\ntaires Translations from Shakespeare* -Of the pe*\\nculiar character of the wit of Voltaire, His Trans-\\nlation fro?n Hudibras. Excellent anonymous French\\nTranslation of Hudibras. Translation of Rabelais\\nby Urquhart and Motteux, 371\\nAppendix, 405\\nERRATA.\\nPag. 46. line 6. from the bottom, xeuiv r. xxivov\\n146. The Note is misplaced It belongs to P. 149- as it\\n\u00e2\u0080\u00a2refers to Horace s dialogue with Lydia.\\n160. 1. 6. ry^, r. x wvxfist\\n162. 1. 6. (pifl^xxxi, r. (pt?0^et xou,\\n165. 1. 8. Aeria r. Aera P. 166. line last pass r, passe,\\nI69. 1. 5. from the bottom, revtecv r, nivUv\\n170. 1. 8. from the bottom, Trajicos r. Tragicos\\n26l. 1. 7 -from the bottom, sr xXQiroc r. TtcXQw,\\n271. 1. 11: from the bottom, meaning r, mean", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0020.jp2"}, "21": {"fulltext": "ESSAY\\nON THE\\n\u00c2\u00a3UINCIFLES OF TRANSLATION.\\nINTRODUCTION.\\n1 here is perhaps no department of lite-\\nrature which has been less the object of cul-\\ntivation, than the Art of Translating. Even\\namong the ancients, who seem to have had\\na very just idea of its importance, and who\\nhave accordingly ranked it among the most\\nuseful branches of literary education, we\\nmeet with no attempt to unfold the prin-\\nciples of this art, or to reduce it to rules.\\nIn the works of Quinctilian, of Cicero, and", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0021.jp2"}, "22": {"fulltext": "2 PRINCIPLES OF INTR.\\nof the Younger Pliny, we find many passa-\\nges which prove that these authors had\\nmade translation their peculiar study and,\\nconscious themselves of its utility, they\\nhave strongly recommended the practice of\\nit, as essential towards the formation both\\nof a good writer and an accomplished ora-\\ntor But it is much to be regretted, that\\nthey who were so eminently well qualified\\nto furnish instruction in the art itself,\\nhave contributed little more to its advance-\\nment than by some general recommenda-\\ntions of its importance. If indeed time had\\nVertere Graeca in Latinum, veteres nostri oratores op-\\ntimum judicabant. Id se Lucius Crassus, in illis Cicero-\\nnis de oratore libris, dicit factitasse. Id Cicero sua ipse per-\\nsona frequentissime praecipit. Quin etiam libros Platonis\\natque Xenophontis edidit, hoc genere translates. Id Messalas\\nplacuit, raultaeque sunt ab eo scriptae ad hunc modum ora-\\ntiones. Quinclil. Inst. Orat. I. 10. c. 5.\\nUtile imprimis, ut multi praecipiunt, vel ex Graeco in La-\\ntinum, vel ex Latino vertere in Graecum quo genere exer-\\ncitationis, proprietas splendorque verborum, copia figurarum,\\nvis explicandi, prasterea, imitatione optimorum, similia inve-\\nniendi facultas paratur: simul quae legentem fefeliissent 9\\ntransferentem fugere non possunt. Flin. Epist. I. 7. Ep. 7.", "height": "3932", "width": "2388", "jp2-path": "essayonprinciple00wood_0022.jp2"}, "23": {"fulltext": "INTR. TRANSLATION. 3\\nspared to us any complete or finished spe-\\ncimens of translation from the hand of those\\ngreat masters, it had been some compensa-\\ntion for the want of actual precepts, to have\\nbeen able to deduce them ourselves from\\nthose exquisite models. But of ancient\\ntranslations the fragments that remain are\\nso inconsiderable, and so much mutilated,\\nthat we can scarcely derive from them any\\nadvantage\\nTo the moderns the art of translation is\\nof greater importance than it was to the\\nancients, in the same proportion that the\\ngreat mass of ancient and of modern lite-\\nrature, accumulated up to the present times,\\nbears to the general stock of learning in the\\nmost enlightened periods of antiquity. But\\nit is a singular consideration, that under\\nthe daily experience of the advantages of\\ngood translations, in opening to us all the\\nstores of ancient knowledge, and creating a\\nfree intercourse of science and of literature\\na2\\nThere remain of Cicero s translations some fragments\\nof the (Economics of Xenophon, the Timaeus of Plato, and\\npart of a poetical version of the Phenomena of Aratus.", "height": "3924", "width": "2396", "jp2-path": "essayonprinciple00wood_0023.jp2"}, "24": {"fulltext": "2 PRINCIPLES OP INTK.\\nbetween all modern nations, there should\\nhave been so little done towards the im-\\nprovement of the art itself, by investiga-\\nting its laws, or unfolding its principles.\\nUnless a very short essay, published by\\nM. D Alembert, in his Melanges cle Lit-\\nterature, d Histoire, #c. as introductory to\\nhis versions of some pieces of Tacitus,\\nand some remarks on translation by the\\nAbbe Batteux, in his Principes cle la i li-\\nterature, I have met with nothing that\\nhas been written professedly upon the sub-\\nject of translation considered as an art, de-\\npending on fixed principles The ob-\\nWhen the first edition of this Essay was printed, the\\nAuthor had not seen Dr Campbell s New Translation of the\\nGospels, then recently published, in one of the preliminary\\ndissertations to which, that ingenious writer has treated pro-\\nfessedly, though very briefly, Of the chief things to be\\nattended to in translating The general laws of the art\\nas briefly laid down in the first part of that dissertation are\\nthe same w th those containe in this Essay; a circumstance\\nwhich, independently of that satisfaction which always arises\\nfrom nding our opinions warranted by the concurring judg-\\nment of persons of distinguished ingenuity and taste, affords\\na strong presumption that those opinions are founded in na-\\nture and in common sense. Another work on the same sub-\\nject had likewise escaped the Author s observation when he\\nfirst published this Essay a poetical Essay on translation,", "height": "3928", "width": "2460", "jp2-path": "essayonprinciple00wood_0024.jp2"}, "25": {"fulltext": "INTR. TRANSLATION. 5\\nservations of M. D Alembert, though ex-\\ntremely judicious, are too general to be\\nconsidered as rules, or even elements of the\\na3\\nby Mr Francklin, the ingenious translator of Sophocles and\\nLucian. It is, however, rather an apology of the art, and\\na vindication of its just rank in the scale of literature, than\\na didactic work explanatory of its principles. But above\\nall, the Author had to regret, that when the former editions\\nof this work were published, he had not been fortunate\\nenough to meet with the work of a celebrated writer, profes-\\nsedly on the subject of translation, the treatise of M. Huet,\\nBishop of Avranches, De optima genere interjjretandi of\\nwhose doctrines, however, he had some knowledge, from a\\npretty full extract of his work in the Dictionnaire Encyclo-\\npedique de Grammaire et Litterature, article Traduction.\\nHe has since seen and perused that small treatise, which,\\nthough accurately and methodically written, and containing\\nmany excellent observations, and much sound and judicious\\ncriticism, proposes a system of rules adapted only to that\\nspecies of translation which professes to give a faithful inter-\\npretation of the text of an ancient classic and is chiefly in-\\ntended for the instruction of a tiro in the language of the\\noriginal. It is of such versions that the learned Dr Pearce\\nis treating, in distinction from that more free species of com-\\nposition which is properly termed Translation, when he says\\ne Velim interpretem fidum esse, \u00c2\u00a3ed non sui ostentatorem\\ntC sed modo dictio ejus Latina, sint verba sensum Graeci\\ni( auctoris clare breviterque exponentia, non quaero an versio\\nornatum prae se ferat neque enim legenda, sed consulenda\\nest ilia ut de v j Giaecorum verborum ignaris, prassunti", "height": "3952", "width": "2368", "jp2-path": "essayonprinciple00wood_0025.jp2"}, "26": {"fulltext": "6 PRINCIPLES OF INTR.\\nart j and the remarks of the Abbe Batteux\\nare employed chiefly on what may be term-\\ned the Philosophy of Grammar, and seem\\nto liave for their principal object the ascer-\\ntainment of the analogy that one language\\nbears to another, or the pointing out of\\nthose circumstances of construction and ar-\\na sit autfilio De iis hie versionibus intelligi velim quae una\\nte cum Graeco auctoris textu imprimuntur de caeteris enim\\nseorsim editis, qualis est Gallica ilia celeberrimi Boilavii\\nversio, longe aliter res se habet in his enim et ornatum\\n61 et elegantiam quaerimus in his sensum magis quam\\ne verba paria paribus respondentia spectamus: nee possit\\ntc ille interpres omnind placere, qui non, (prout ejus linguae\\nqua utitur postulat ratio), aliqua immutat, corripit, dilatat,\\nut ipsam vim spiritumque auctoris ob oculos legentium\\nponat/ Prcefatio Zack Pearce in D. Longini versio-\\nnem. It is evident, that the rules which are proper to the\\nformer kind of interpretation, are much too rigorous to be\\napplied to the latter, or to that more ample and liberal spe-\\ncies of translation, which professes to supply the place of the\\noriginal author, and is adapted rather to convey to the reader\\nthe sense, the spirit and manner of his composition, than the\\nstrict meaning of all his words. The present work, therefore,\\nwhich is relative to the more enlarged idea of Translation,\\nand attempts to lay down the rules only of that species of\\ncomposition, can have little interference with the Treatise\\nof the learned Huet, which every scholar will find pleasure\\nand profit in perusing. It may be incidentally remarked,", "height": "3952", "width": "2376", "jp2-path": "essayonprinciple00wood_0026.jp2"}, "27": {"fulltext": "INTR. TRANSLATION. t\\nrangement in which languages either agree\\nwith, or differ from each other\\nWhile such has been our ignorance of\\nthe principles of this art, it is not at all\\nwonderful, that amidst the numberless trans-\\nlations which every day appear, both of the\\nworks of the ancients and moderns, there\\nshould be so few that are possessed of real\\nmerit. The utility of translations is univer-\\nsally felt, and therefore there is a continual\\na4\\nthat the judgments of Huet on the merits of the older inter-\\npreters of the Greek writers, are extremely valuable and\\nthough rather of the nature of opinions than of criticisms,\\nevince a good taste, and great liberality of sentiment.\\nThe Abbe Batteux, founding upon this principle, which\\nhe has by no means proved, That the arrangement of the\\nGreek and Latin languages is the order of nature, and that\\nthe modern tongues ought never to deviate from that order,\\nbut for the sake of sense, perspicuity, or harmony proceeds\\nto lay down such rules as the following That the periods of\\nthe translation should accord in all their parts with those of\\nthe original that their order, and even their length, should\\nbe the same that all conjunctions should be scrupulously\\npreserved, as being the joints or articulations of the members\\nthat all adverbs should be ranged next to the verb, c.\\nIt may be confidently asserted, that the Translator who shall\\nendeavour to conform himself to these rules, even with the", "height": "3932", "width": "2364", "jp2-path": "essayonprinciple00wood_0027.jp2"}, "28": {"fulltext": "PRINCIPLES OF 1NTR\u00c2\u00bb\\ndemand for them. But this very eircum^\\nstance has thrown the practice of translation\\ninto mean and mercenary hands. It is a\\nprofession which, it is generally believed,\\nmay be exercised with a very small por-\\ntion of genius or abilities u It seems to\\nlicence allowed of sacrificing a little of their rigour to sense,\\nperspicuity, and harmony, will produce, on the whole, a very\\npoor composition, which will be far from reflecting a just\\npicture of his original.\\nSuch is our pride, our folly, or our fate,\\nThat few, but such as cannot write, translate.\\nDenham to Sir jR. Fansharv.\\nhands impure dispense\\nThe sacred streams of ancient eloquence\\nPedants assume the task for scholars fit^\\nAnd blockheads rise interpreters of wit.\\nTranslation by Francklin.\\nIn a review of the Works of Frederick II. King of Prussia,\\ntranslated by Mr Holcroft, we find the following remarks\\nPerhaps at first sight we are apt to congratulate ourselves\\nupon finding a man of acknowledged ability employed in\\ncommunicating to our unlearned countrymen the contents\\nof this memorable collection. $ut this, with us at least,\\niC is only a first thought and the translator must forgive us,\\nif we express our regret at seeing him employed in so\\nlaborious and unanimating a drudgery. In the existence\\nof an incident of this sort, there must be a fault some-", "height": "3956", "width": "2376", "jp2-path": "essayonprinciple00wood_0028.jp2"}, "29": {"fulltext": "INTR. TRANSLATION. 9\\nme, says Dry den, that the true rea^\\nson why we have so few versions that\\nare tolerable, is, because there are so\\nfew have all the talents requisite for trans^\\nlation, and that there is so little praise and\\nsmall encouragement for so considerable a\\npartof learning. Pref: to Ovid s Epistles*.\\nc where and if not in himself, we must impute it to the\\ndefectiveness of our country and age, in social improve-\\nment, government and laws. The world, it may be, that\\niC is, a very small portion of the world, sains something,\\nin having a foreign publication translated by a man who\\nis capable of entering into the soul of his original; but, at\\nany rate, it loses, out of all comparison, more than it gains.\\nHere we have the solemn judgment of a grave and learn-\\ned critic, that Translation is an employment fit only for\\nDunces and that there is a radical defect in the govern-\\nment, laws and social improvements of a country, where any\\nman of real talents is suffered thus to degrade himself, and\\nmispend his valuable time.\\nThe justness of the following observations, which fprm\\na striking contrast with those in the preceding note, will be\\nfelt, as soon as announced. A faithful and elegant trans-\\nlator is a character of the highest virtue in the literary\\n*i republic. It implies public spirit, the most void of osten-\\ntation; a kind regard for the illiterate; a love of our na-\\ntive country, shewn by enriching its language with va-", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0029.jp2"}, "30": {"fulltext": "10 tmiNGIl LES 0? INTIU\\nIt* is, however, to the real honour of the\\nliterary character, and taste of the times,\\nthat there have been, and that there are men\\nof genius among the moderns who have\\nvindicated the dignity of this art so ill appre-\\ntiated, and have furnished us with excel-\\nlent translations, both of the ancient clas-\\nsics, and of the productions of foreign wri-\\nters of our own and of former ages. These\\nworks lay open a great field of useful criti-\\ncism and from them it is certainly pos-\\nsible to draw the principles of that art\\nwhich has never yet been methodised, and\\nto establish its rules and precepts* Towards\\nthis purpose, even the worst translations\\nwould have their utility, as in such a critical\\nexercise, it would be equally necessary to il-\\nlustrate defects as to exemplify perfections.\\nw luable books a just regard for merit, of whatever country*\\nm by placing the merit of some valuable foreigners in the\\nie truest and fairest light a care, a judgment and exactness\\nu that original writings do not require, and some degree\\nof humility, in scarce aspiring to the name of an author.\\nBut how few of those heroes and heroines are there\\nThe common herd of translators are mere murderers.\\nLetter from Miss Talbot to Mrs Carter. Carter s Letters,\\nvol. i. p. 126.", "height": "3952", "width": "2376", "jp2-path": "essayonprinciple00wood_0030.jp2"}, "31": {"fulltext": "INTR.\\nTRANSLATION. 11\\nAn attempt of this kind forms the sub-\\nject of the following Essay, in which the\\nAuthor solicits indulgence, both for the im-\\nperfections of his treatise, and perhaps for\\nsome errors of opinion. His apology for the\\nfirst, is, that he does not pretend to ex-\\nhaust the subject, or to treat it in all its\\namplitude, but only to point out the general\\nprinciples of the art and for the last, that\\nin matters where the ultimate appeal is to\\nTaste, it is almost impossible to be secure of\\nthe solidity of our opinions, when the crite-\\nrion of their truth is so very uncertain.", "height": "3932", "width": "2392", "jp2-path": "essayonprinciple00wood_0031.jp2"}, "32": {"fulltext": "", "height": "3932", "width": "2456", "jp2-path": "essayonprinciple00wood_0032.jp2"}, "33": {"fulltext": "CHAP. U TRANSLATION, 13\\nm\\nCHAPTER I.\\nDescription of a good Translation,*\u00e2\u0080\u0094 Gene\\nral Rules flowing from that Description,\\nJ f it were possible accurately to define, or,\\nperhaps more properly, to describe what u\\nmeant by a good Translation, it is evident\\nthat a considerable progress would be made,\\ntowards establishing the rules of the Art\\nfor these Rules would flow naturally from\\nthat definition or description. But there\\nis no subject of criticism on which there has\\nbeen so much difference of opinion. If the\\ngenius and character of all languages were\\nthe same, it would be an easy task to trans*\\nlate from one into another nor would my", "height": "3932", "width": "2356", "jp2-path": "essayonprinciple00wood_0033.jp2"}, "34": {"fulltext": "14 PRINCIPLES OF CHAP. I.\\nthing more be requisite on the part of the\\ntranslator, than fidelity and attention. But as\\nthe genius and character of languages are\\nconfessedly very different, two opinions have\\nthence arisen, regarding the proper task of\\na translator. On the one hand, it has been\\naffirmed, that it is the duty of a translator to\\nattend only to the sense and spirit of his\\noriginal, to make himself perfectly master\\nof his author s ideas, and to communicate\\nthem in those expressions which he judges\\nto be best suited to convey them. It has,\\non the other hand, been maintained, that,\\nin order to constitute a perfect translation,\\nit is not only requisite that the ideas and\\nsentiments of the original author should be\\nconveyed, but likewise his style and man-\\nner of writing, which, it is supposed, can-\\nnot be done without a strict attention to the\\narrangement of his sentences, and even to\\ntheir order and construction According\\nBatteux de la Construction Oratoire, Par. 2. ch. 4 Such\\nlikewise appears to be the opinion of M. Huet Optimum\\nergo ilium esse dico interpretandi modum, quum auctoris sen-\\ntcntias primum, deinde ipsis etiam, si ita fert utriusque", "height": "3932", "width": "2392", "jp2-path": "essayonprinciple00wood_0034.jp2"}, "35": {"fulltext": "CHAP. U TRANSLATION. 15\\nto the Former idea of translation, it is al-\\nlowable to improve and to embellish ac-\\ncording to the latter, it is necessary to pre-\\nserve even blemishes and defects and to\\nthese must likewise be superadded the harsh-\\nness that must attend every copy in which\\nthe artist scrupulously studies to imitate the\\nminutest lines or traces of his original.\\nAs these two opinions form opposite ex-\\ntremes, it is not improbable that the point\\nof perfection should be found between the\\ntwo, I would therefore describe a good\\ntranslation to be, That, in which the merit\\nof the original work is so completely trans~\\nfused into another language, as to be as\\ndistinctly apprehended, and as strongly felt\\nby a native of the country to which that\\nUngues facultas, verbis arctissime adhoeret interpres, et na\\ntivum postremo auctoris character em, quoad ejusjieri potest t\\n(C adumbrat idque unum studet, id mdla cum detractions im*\\nv minutum, nullo additarnento auctum, sed integrum, suique\\nR omni ex parte, simillimum, perquam fideliter exhibeat.\\nUniverse ergo verbum de verbo exprimendum, et vocum\\nc etiam collocationem retinendum esse pronuncio, id mod-Q\\nper lingua qua utitur interpres famltatem liceat Wwt\\nde Ijiterpretatione lib, i,", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0035.jp2"}, "36": {"fulltext": "16 PRINCIPLES OP CHAP. I.\\nlanguage belongs, as it is by those who speak\\nthe language of the original work.\\nNow, supposing this description to be\\na just one, which I think it is, let us exa-\\nmine what are the laws of translation which\\nmay be deduced from it.\\nIt will follow,\\nI. That the Translation should give a\\ncomplete transcript of the ideas of the ori-\\nginal work,\\nII. That the style and manner of writing\\nshould be of the same character with that of\\nthe original*\\nIII. That the Translation should have\\nall the ease of original composition.\\nUnder each of these general laws of trans-\\nlation, are comprehended a variety of sub-\\nordinate precepts, which I shall notice in\\ntheir order, and which, as well as the ge-\\nneral laws, I shall endeavour to prove, and\\nto illustrate by examples.", "height": "3948", "width": "2384", "jp2-path": "essayonprinciple00wood_0036.jp2"}, "37": {"fulltext": "CIJAP. II. TRANSLATION. 17\\nCHAR II.\\nFirst general rule A Translation should\\ngive a complete transcript of the ideas of\\nthe original work. Knowledge of the\\nlanguage of the original, and acquaint-\\nance with the subject* Examples of im-\\nperfect transfusion of the sense of the\\noriginal, What ought to be the conduct\\nof a Translator where the sense is ambi-\\nguous.\\nIn order that a translator may be ena-\\nbled to give a complete transcript of the\\nideas of the original work, it is indispen-\\nsably necessary, that he should have a per-\\nfect knowledge of the language of the ori-\\nginal, and a competent acquaintance with\\nthq subject of which it treats. If he is de\u00c2\u00ab", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0037.jp2"}, "38": {"fulltext": "18 PRINCIPLES OP CHAP. II.\\nficient in either of these requisites, he can\\nnever be certain of thoroughly comprehend-\\ning the sense of his author. M. Folard is\\nallowed to have been a great master of the\\nart of war. He undertook to translate Po-\\nlybius, and to give a commentary illustra-\\nting the ancient Tactic, and the practice of\\nthe Greeks and Romans in the attack and\\ndefence of fortified places. In this com-\\nmentary, he endeavours to shew, from the\\nwords of his author, and of other ancient\\nwriters, that the Greek and Roman engi-\\nneers knew and practised almost every ope-\\nration known to the moderns and that, in\\nparticular, the mode of approach by paral-\\nlels and trenches, was perfectly familiar to\\nthem, and in continual use. Unfortunately\\nM. Folard had but a very slender knowledge\\nof the Greek language, and was obliged to\\nstudy his author through the medium of a\\ntranslation, executed by a Benedictine monk*,\\nwho was entirely ignorant of the art of war.\\nM. Guischardt, a great military genius, and\\nDom. Vincent Thuillier,", "height": "3960", "width": "2384", "jp2-path": "essayonprinciple00wood_0038.jp2"}, "39": {"fulltext": "CHAP. II.\\nTRANSLATION. 19\\na thorough master of the Greek language,\\nhas shewn, that the work of Folard contains\\nmany capital misrepresentations of the sense\\nof his author, in his account of the most\\nimportant battles and sieges, and has de-\\nmonstrated, that the complicated system form-\\ned by this writer of the ancient art of war,\\nhas no support from any of the ancient au-\\nthors fairly interpreted\\nThe extreme difficulty of translating from\\nthe works of the ancients, is most discern-\\nible to those who are best acquainted with\\nthe ancient languages. It is but a small\\npart of the genius and powers of a lan-\\nguage which is to be learnt from dictionaries\\nand grammars. There are innumerable nice-\\nties, not only of construction and of idiom,\\nbut even in the signification of words, which\\nare discovered only by much reading, and\\ncritical attention.\\nb2\\nMemoires militaires de M. Guischardt,", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0039.jp2"}, "40": {"fulltext": "20 PRINCIPLES OF CHAP. II.\\nA very learned author, and acute critic\\nhas, in treating of the causes of the diffe-\\nrences in languages, remarked, that a\\nprincipal difficulty in the art of translating\\narises from this circumstance, that there\\nare certain words in every language which\\nbut imperfectly correspond to any of the\\nwords of other languages. Of this kind,\\nhe observes, are most of the terms relating\\nto morals, to the passions, to matters of\\nsentiment, or to the objects of the reflex\\nand internal senses. Thus the Greek words\\ntt\u00c2\u00a3g7?j, r pgo(rvv7 Ixeog, have not their sense\\nprecisely and perfectly conveyed by the La-\\ntin words virtus, temper antia, misericordia,\\nand still less by the English words, virtue,\\ntemperance, mercy. The Latin word virtus\\nis frequently synonymous to valour, a sense\\nwhich is never conveyed by the English\\nword virtue. Temper ant ia, Latin, implies\\nmoderation in every desire, and is defined\\nby Cicero, Moderatio cupiditatum rationi obe-\\nDr George Campbell, Preliminary Dissertations to a new\\nTranslation of the Gospels.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0040.jp2"}, "41": {"fulltext": "CHAP. II. TRANSLATION. 21\\ndiens The English word temperance, in\\nits ordinary use, is limited to moderation in\\neating and drinking\\n-Observe\\nThe rule of not too much,, by temperance taught,\\nIn what thou eat st and drink st.\\nPar, Lost, b. ii.\\nIt is true, that Spenser has used the term\\nin its more extensive signification\\nHe calm d his wrath with goodly temperance.\\nBut no modern prose-writer has authorised\\nsuch extension of its meaning.\\nThe following passage is quoted by the\\ningenious writer above mentioned, to shew,\\nin the strongest manner, the extreme diffi-\\nculty of apprehending the precise import of\\nwords of this order in dead languages\\nJEgritudo est opinio recens mali prasentis,\\nin quo demitti contrahiqne animo rectum\\nesse videatur. JEgritudini subjiciuntur\\nb3\\nCic. de Fin. 1. 2.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0041.jp2"}, "42": {"fulltext": "22 PRINCIPLES OF CHAP. II.\\nangor, mmror, dolor, Indus, cerumna, afflic-\\ntatio angor est cegritudo premens, mceror\\ncegritudo jlebilis, cerumnm cegritudo labor i-\\nosa, dolor cegritudo crucians, affiictalio\\ncegritudo cum vexatione corporis, luctus\\ncegritudo ex ejus qui earns fuer at, interitu\\nacerbo Let any one, says D Alem-\\nbert, examine this passage with attention,\\nand say honestly, whether, if he had not\\nknown of it, he would have had any idea\\nof those nice shades of signification here\\nmarked, and whether he would not have\\nbeen much embarrassed, had he been wri-\\nting a dictionary, to distinguish, with ac-\\ncuracy, the words cegritudo, mceror dolor,\\nangor, luctus, cerumna, afflictatio\\nThe fragments of Varro, de Lingua La-\\ntina, the treatises of Festus and of No-\\nnius, the Origin es of Isiodorus Hispalensis,\\nthe work of Ausonius Popma, de Differen-\\ntiis Verborum, the Synonymes of the Abbe\\nGirard, the Synonymes Latins of Dumesnil,\\nCic. Tusc. Quaest. L 4.", "height": "3952", "width": "2368", "jp2-path": "essayonprinciple00wood_0042.jp2"}, "43": {"fulltext": "CHAP. II. TRANSLATION. 23\\nand the elaborate work of Professor Hill on\\nthe same subject, will furnish numberless\\ninstances of those very delicate shades of\\ndistinction in the signification of words,\\nwhich nothing but the most intimate ac-\\nquaintance with a language can teach but\\nwithout the knowledge of which distinc-\\ntions in the original, and an equal power of\\ndiscrimination of the corresponding terms\\nof his own language, no translator can be\\nsaid to possess the primary requisites for the\\ntask he undertakes.\\nBut a translator, thoroughly master of\\nthe language, and competently acquainted\\nwith the subject, may yet fail to give a com-\\nplete transcript of the ideas of his original\\nauthor.\\nM. D Alembert has favoured the public\\nwith some admirable translations from Ta-\\ncitus and it must be acknowledged, that\\nhe possessed every qualification requisite for\\nthe task he undertook. If, in the course of\\nthe following observations, I may have oc-\\ncasion to criticise any part of his writings,\\nb4", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0043.jp2"}, "44": {"fulltext": "24 PRINCIPLES OF CHAP. It.\\nor those of other authors of equal celebrity,\\nI avail myself of the just sentiment of\\nM. Duclos, On peut toujours relever les\\ndefauts des grands hommes, et peut-\u00c2\u00a3tre\\nsont ils les seuls qui en soient dignes, et\\ndont la critique soit utile. Duclos, Pref.\\nde V Hist, de Louis XI.\\nTacitus, in describing the conduct of Pisa\\nupon the death of Germanicus, says Piso-\\nnem interim ap-ud Coum insulam nuncius ad-\\nsequitur, excessisse Germanicum Tacit. An.\\nlib. 2. c. 75. This passage is thus translated\\nby M. D Alembert, Pison apprend, dans\\nu l isle de Cos, la mort de Germanicus.\\nIn translating this passage, it is evident that\\nM. D Alembert has not given the complete\\nsense of the original. The sense of Tacitus\\nis, that Piso was overtaken on his voyage\\nhomeward, at the Isle of Cos, by a messen-\\nger, who informed him that Germanicus\\nwas dead. According to the French trans-\\nlator, we understand simply, that when Piso\\narrived at the Isle of Cos, he was informed\\nthat Germanicus was dead. We do not learn\\nfrom this, that a messenger had followed", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0044.jp2"}, "45": {"fulltext": "CHAP. II. TRANSLATION. 25\\nhim on his voyage to bring him this intel-\\nligence. The fact was, that Piso purposely\\nlingered on his voyage homeward, expecting\\nthis very messenger who here overtook him.\\nBut, by M. D Alembert s version it might\\nbe understood, that Germanicus had died in\\nthe island of Cos, and that Piso was informed\\nof his death by the islanders immediately\\non his arrival. The passage is thus trans-\\nlated, with perfect precision, by D Ablan-\\ncourt Cependant Pison apprend la nou-\\nvelle de cette mort par un courier exprfes,\\nqui l atteignit en Fisle de Cos.\\nAfter Piso had received intelligence of\\nthe death of Germanicus, he delibera-\\nted whether to proceed on his voyage to\\nRome, or to return immediately to Syria,\\nand there put himself at the head of the\\nlegions. His son advised the former mea-\\nsure but his friend Domitius Celer argued\\nwarmly for his return to the province, and\\nurged, that all difficulties would give way\\nto him, if he had once the command of the\\narmy, and had increased his force by new\\nlevies. At si teneat exercitum, augeat", "height": "3924", "width": "2376", "jp2-path": "essayonprinciple00wood_0045.jp2"}, "46": {"fulltext": "26 PRINCIPLES OF\\nCHAP. II.\\nvires, multa quae provideri non possunt\\nin melius casura, An. L 2. c. 77. This\\nM. D Alembert has translated, Mais que\\ns il savoit se rendre redoutable a la tete\\ndes troupes, le hazard ameneroit des cir-\\nConstances heureuses et imprevues. In\\nthe original passage, Domitius advises Piso\\nto adopt two distinct measures the first, to\\nobtain the command of the army, and the\\nsecond, to increase his force by new levies.\\nThese two distinct measures are confound-\\ned together by the translator, nor is the\\nsense of either of them accurately given\\nfor from the expression, se rendre redout-\\nable a la tete des troupes, we may under-\\nstand, that Piso already had the command\\nof the troops, and that all that was requi-\\nsite, was to render himself formidable in\\nthat station, which he might do in various\\nother ways than by increasing the levies.\\nTacitus, speaking of the means by which\\nAugustus obtained an absolute ascendency\\nover all ranks in the state, says, Cum ccete-\\nri nobiliurri) qttanto qnis servitio promptior,\\nopibus et honoribus extollerentur An. 1. 1.", "height": "3956", "width": "2380", "jp2-path": "essayonprinciple00wood_0046.jp2"}, "47": {"fulltext": "CHAP. II. TRANSLATION. 2?\\nc. 1. This D Alembert has translated, Le\\nreste des nobles trouvoit dans les richesses\\net dans les honneurs la recompense de 1\\nesclavage. Here the translator has but\\nhalf expressed the meaning of his author,\\nwhich is, that the rest of the nobility\\nwere exalted to riches and honours, in\\nproportion as Augustus found in them an\\naptitude and disposition to servile obe-\\ndience or, as it is well translated by Mr\\nMurphy, the leading men were raised to\\nwealth and honours, in proportion to the\\nalacrity with which they courted theyoke*. 5\\nCicero, in a letter to the Proconsul Phi*\\nlippus, says, Quod si Romce te vidissem, co~\\nramque gratias egissem, quod tibi L. Egna-\\nt ins familiar issimus mens absens, L. Op puis\\nprcesens cur fuisset. This passage is thus\\ntranslated by Mr Melmoth If I were in\\nRome, I should have waited upon you\\nfor this purpose in person, and in order\\nThe excellent translation of Tacitus by Mr Murphy had\\nnot appeared when the first edition of this Essay was publish-\\ned.", "height": "3928", "width": "2376", "jp2-path": "essayonprinciple00wood_0047.jp2"}, "48": {"fulltext": "28 PRINCIPLES OF CHAP. II.\\nlikewise to make my acknowledgments to\\nyou for your favours to my friends Egna-\\ntius and Oppius. Here the sense is not\\ncompletely rendered, as there is an omis-\\nsion of the meaning of the words absens and\\nprcEsens*\\nWheue the sense of an author is doubt-\\nful, and where more than one meaning can\\nbe given to the same passage or expression,\\n(which, by the bye, is always a defect in\\ncomposition), the translator is called upon\\nto exercise his judgment, and to select that\\nmeaning which is most consonant to\\nthe train of thought in the whole pas-\\nsage, or to the author s usual mode of think-\\ning, and of expressing himself To imi-\\ntate the obscurity or ambiguity of the ori-\\nginal, is a fault and it is still a greater,\\nM. Huet, however, thinks otherwise, and his opinion is\\na necessary consequence from the strict method of interpre-\\ntation for which he contends Verbum ambigue dictum est,\\net duplicem admittit explicationem. Cerie res in medio po-\\nsita ut erat, ita debuit consistere, et verbum anceps ancipiti\\nverbo reddi, ipsaque sentential ambiguitas reprazsentari. De\\nOpt. Gen. Interpret, p. 27. Edit. Lond. 1684.", "height": "3932", "width": "2392", "jp2-path": "essayonprinciple00wood_0048.jp2"}, "49": {"fulltext": "CHAP. IL\\nTRANSLATION. 29\\nto give more than one meaning, as D Alem-\\nbert has done in the beginning of the Pre-\\nface of Tacitus. The original runs thus:\\nUrban Romam a principio Reges habuere.\\nLibert a te?n et consulatum i. Brutus instituit.\\nDictaturce ad tempus sumebantur neque\\nDecemvir alis potestas ultra biennium, neque\\nTribunorum militum consular ejus diu valuit.\\nThe ambiguous sentence is, Dictaturce ad\\ntempus sumebantur which may signify ei-\\nther, Dictators were chosen for a limited\\ntime, or, Dictators were chosen on\\nparticular occasions or emergencies.\\nD Alembert saw this ambiguity but how\\ndid he remove the difficulty Not by exer-\\ncising his judgment in determining between\\nthe two different meanings, but by giving\\nthem both in his translation. On creoit\\nau besoin des dictateurs passagers.\\nNow, this double sense it was impossible\\nthat Tacitus should ever have intended to\\nconvey by the words ad tempus and be-\\ntween the two meanings of which the\\nwords are susceptible, a very little critical\\njudgment was requisite to decide. I know\\nnot that ad tempus is ever used in the sense", "height": "3952", "width": "2376", "jp2-path": "essayonprinciple00wood_0049.jp2"}, "50": {"fulltext": "SO PRINCIPLES OP CHAP. II,\\n4\\nof for the occasion or emergency. If\\nthis had been the author s meaning, he\\nwould probably have used either the words\\nad occasionern, or pro re nata. But even al-\\nlowing the phrase to be susceptible of this\\nmeaning it is not the meaning which Ta-\\ncitus chose to give it in this passage. That\\nthe author meant that the Dictator was\\ncreated for a limited time, is, I think, evi-\\ndent from the sentence immediately follow-\\ning, which is connected by the copulative\\nneque with the preceding Diet at ur a ad\\ntempus sumebantur neque Decemviralis po-\\ntestas ultra biennium valuit The office of\\nDictator was instituted for a limited time\\nNor did the power of the Decemvirs sub-\\nsist beyond two years.\\nM. D Alembert s translation of the\\nconcluding sentence of this chapter is cen-\\nMr Gordon has translated the words ad tempus, ec in pres-\\nsing emergencies and Mr Murphy, in sudden emergen-\\ncies only. This sense is, therefore, probably warranted\\nby good authorities. But it is evidently not the sense of the\\nauthor in this passage, as the context sufficiently indicates-", "height": "3952", "width": "2456", "jp2-path": "essayonprinciple00wood_0050.jp2"}, "51": {"fulltext": "CHAP, II. TRANSLATION, 31\\nsurable on the same account. Tacitus says,\\nSea veteris populi Romani prosper a vel ad-\\nversa, claris scriptoribus memorata sunt\\ntemporibusque Augusti dicendis non defuere\\ndecora ingenia, donee gliscente adulatione de-\\nterrerentur. Tiberii, Caiique, et Claudii,\\nac Reronis res y florentibus ipsis, ob me turn\\nfalsce postquam occiderant, recentibus odiis\\ncomposite stmt, hide consilium mihi pauca\\nde Au gusto, et extrema trader e mox Tiberii\\nprincipatum, et ccetera, sine ira et studio, quo-\\nrum causas procul habeo. Thus translated\\nby D Alembert Des auteurs illustres ont\\nfait connoitre la gloire et les malheurs\\nde l ancienne republique l histoire meme\\nd Auguste a ete ecrite par de grands ge-\\nnies, jusqu aux terns ou la necessite de\\nflatter les condamna au silence. La\\ncrainte menagea tant qu ils vecurent, Ti-\\nbere, Caius, Claude, et Neron des qu ils\\nne furent plus, la haine toute recente les\\ndechira. J ecrirai done en peu de mots\\nla fin du regne d Auguste, puis celui de\\nTibere, et les suivans sans fiel et sans\\nbassesse mon caractere m en eloign e, et\\nles terns m en dispensent. In the last", "height": "3948", "width": "2376", "jp2-path": "essayonprinciple00wood_0051.jp2"}, "52": {"fulltext": "32 PRINCIPLES OF CHAP. II.\\npart of this passage, the translator has given\\ntwo different meanings to the same clause,\\nsine ira et studio, quorum causas procul ha-\\nbeo, to which the author certainly meant to\\nannex only one meaning and that, as I\\nthink, a different one from either of those\\nexpressed by the translator. To be clearly\\nunderstood, I must give my own version of\\nthe whole passage. The history of the\\nancient republic of Rome, both in its\\nprosperous and in its adverse days, has\\nbeen recorded by eminent authors Even\\nthe reign of Augustus has been happily\\ndelineated, down to those times when the\\nprevailing spirit of adulation put to silence\\nevery ingenuous writer. The annals of\\nTiberius, of Caligula, of Claudius, and of\\nNero, written while they were alive, were\\nfalsified from terror as were those histo-\\nries composed after their death, from ha-\\ntred to their recent memories. For this\\nreason, I have resolved to attempt a short\\ndelineation of the latter part of the reign\\nof Augustus and afterwards that of Ti-\\nberius, and of the succeeding princes\\nconscious of perfect impartiality, as, from", "height": "3932", "width": "2476", "jp2-path": "essayonprinciple00wood_0052.jp2"}, "53": {"fulltext": "CHAP. II. TRANSLATION. 33\\nthe remoteness of the events, I have no\\nw motive, either of odium or adulation.\\nIn the last clause of this sentence, I believe\\nI have given the true version of sine ira et\\nstudio, quorum causas procul habeo But\\nif this be the true meaning of the au-\\nthor, M. D Alembert has given two diffe-\\nrent meanings to the same sentence, and\\nneither of them the true one sans fiel\\net sans bassesse mon caractere m en\\n61oigne, et les terns m en dispensent.\\nAccording to the French translator, the his-\\ntorian pays a compliment first to his own\\ncharacter, and 2dly, to the character of the\\ntimes both of which he makes the pledges\\nof his impartiality but it is perfectly clear\\nthat Tacitus neither meant the one com-\\npliment nor the other but intended sim-\\nply to say, that the remoteness of the events\\nwhich he proposed to record, precluded eve-\\nry motive either of unfavourable prejudice\\nor of adulation.", "height": "3932", "width": "2332", "jp2-path": "essayonprinciple00wood_0053.jp2"}, "54": {"fulltext": "", "height": "3932", "width": "2484", "jp2-path": "essayonprinciple00wood_0054.jp2"}, "55": {"fulltext": "CHAP. III. TRANSLATION. 35\\nCHAPTER III.\\nWhether it is allowable for a Translator to\\nadd to or retrench the ideas of the ori~\\nginal. Examples of the use and abuse of\\nthis liberty. The liberty allowed to the\\nTranslator depends on the nature of the\\nwork.\\nIf it be necessary that a translator should\\ngive a complete transcript of the ideas of\\nthe original work, it becomes a question,\\nwhether it is allowable in any case to add\\nto the ideas of the original what may appear\\nto give greater force or illustration or to\\ntake from them what may seem to weaken\\nthem from redundancy. To give a general\\nanswer to this question, I would say, that\\nc2", "height": "3932", "width": "2380", "jp2-path": "essayonprinciple00wood_0055.jp2"}, "56": {"fulltext": "86 PRINCIPLES OF CHAP. Ill*\\nthis liberty may be used, but with the great-\\nest caution. It must be further observed,\\nthat the superadded idea shall have the\\nmost necessary connection with the original\\nthought, and actually increase its force.\\nAnd, on the other hand, that whenever an\\nidea is cut off by the translator, it must be\\nonly such as is an accessory, and not a prin-\\ncipal in the clause or sentence. It must\\nlikewise be confessedly redundant, so that\\nits retrenchment shall not impair or weaken\\nthe original thought. Under these limita-\\ntions, a translator may exercise his judg-\\nment, and assume to himself, thus far, the\\ncharacter of an original writer.\\nIt will be allowed, that in the following\\ninstance the translator, the elegant Vincent\\nBourne, has added a very beautiful idea,\\nwhich, while it has a most natural connec-\\ntion with th.e original thought, greatly heigh-\\ntens its energy and tenderness. The two\\nfollowing stanzas are a part of the fine bal-\\nlad of Colin and Lucy, by Tickell.", "height": "3932", "width": "2472", "jp2-path": "essayonprinciple00wood_0056.jp2"}, "57": {"fulltext": "CHAP, III. TRANSLATION, 37\\nTo-morrow in the church to wed,\\nImpatient both prepare\\nBut know, fond maid, and know, false man,\\nThat Lucy will be there.\\nThere bear my corse, ye comrades, bear,\\nThe bridegroom blithe to meet\\nHe in his wedding-trim so gay,\\nI in my winding-sheet.\\nThus translated by Bourne\\nJungere eras dextrae dextram properatis uterque,\\nEt tarde interea creditis ire diem.\\nCredula quin virgo, juvenis quin perfide, uterque\\nScite, quod et pacti Lucia testis erit.\\nExangue, oh illuc, comites, deferte cadaver,\\nQua semel, oh iterum congrediamur, ait 4\\nVestibus ornatus sponsalibus ille, caputque\\nIpsa sepulchrali vincta, pedesque stola.\\nIn this translation, which is altogether\\nexcellent, it is evident, that there is one\\nmost beautiful idea superadded by Bourne,\\nin the line Qua semel, c. which won-\\nderfully improves upon the original thought.\\nIn the originals the speaker, deeply impres-\\nsed with the sense of her wrongs, has no\\nother idea than to overwhelm her perjured\\nc3", "height": "3928", "width": "2332", "jp2-path": "essayonprinciple00wood_0057.jp2"}, "58": {"fulltext": "38 PRINCIPLES OF CHAP. III.\\nlover with remorse at the moment of his\\napproaching nuptials. In the translation,\\namidst this prevalent idea, the speaker all\\nat once gives way to an involuntary burst\\nof tenderness and affection, Oh, let us\\nmeet once more, and for the last time\\nSemel, oh iter urn congrediamnr, ait. It was\\nonly a man of exquisite feeling, who was\\ncapable of thus improving on so fine an ori-\\nginal\\nAchilles, (in the first book of the Iliad),\\nwon by the persuasion of Minerva, resolves,\\nthough indignantly, to give up Briseis, and\\nPatroclus is commanded to deliver her to\\nthe heralds of Agamemnon\\nfig P\u00c2\u00abt* Tldr^oxXos $1 plXa hrt7rsifa Irxl^ca\\nEk cLyayi K^ie-iris B\u00c2\u00a3i r/ii$cc xccXXt7rci( yiov,\\nhtex.1 evyuv tco a uung mjy Tra^ot vqxg A^ptim\\n*H y clzxacr ap rojtn yvvt) Ki iv.\\nIlias, A. 345.\\nThere is a French translation of this ballad by Le\\nMierre, which, though far inferior to that of Bourne, has yet\\na great deal of the tender simplicity of the original. See\\na few stanzas in the Appendix, NO. 1.", "height": "3932", "width": "2472", "jp2-path": "essayonprinciple00wood_0058.jp2"}, "59": {"fulltext": "CHAP. III.\\nTRANSLATION. 39\\nThus he spoke. But Patroclus was obe-\\ndient to his dear friend. He brought out\\nthe beautiful Briseis from the tent, and\\ngave her to be carried away. They re-\\nturned to the ships of the Greeks but\\nshe unwillingly went, along with her at-\\ntendants.\\nPatroclus now th unwilling Beauty brought\\nShe in soft sorrows, and in pensive thought,\\nPast silent, as the heralds held her hand,\\nAnd oft look d back, slow moving o er the strand.\\nPope.\\nThe ideas contained in the three last lines\\nare not indeed expressed in the original,\\nbut they are implied in the word asasca\\nfor she who goes unwillingly, will move\\nslowly^ and oft look back. The amplifica-\\ntion highly improves the effect of the pic-\\nture. It may be incidentally remarked,\\nthat the pause in the third line, Past silent^\\nis admirably characteristic of the slow and\\nhesitating motion which it describes.\\nIn the poetical version of the 137th Psalm,\\nby Arthur Johnston, a compostion of clas-\\nc4", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0059.jp2"}, "60": {"fulltext": "40 PRINCIPLES OP CHAP. III.\\nsical elegance, there are several examples\\nof ideas superadded by the translator, inti-\\nmately connected with the original thoughts,\\nand greatly heightening their energy and\\nbeauty.\\nUrbe procul Solymae, fusi Babylonis ad undas\\nFlevimus, et lachrymae fluminis instai erant\\nSacra Sion toties animo totiesque recursans,\\nMateriem lachrymis praebuit usque novis\\nDesuetas saliceta lyras, et muta ferebant\\nNablia, servili non temeranda manu.\\nQui patria exegit, patriam qui submit, hostis\\nPendula captivos sumere plectra jubet\\nImperat et laetos, mediis in fletibus, hymnos,\\nQuosque Sion cecinit, nunc taciturna modos.\\nErgone pacta Deo peregrinae barbita genti\\nFas erit, et sacras prostituisse lyras\\nAnte meo, Solyme, quam tu de pectore cedas,\\nNesciat Hebragam tangere dextra chelyn.\\nTe nisi tollat ovans imam super omnia, lingua\\nFaucibus haerescat sidere tacta meis.\\nNe tibi noxa recens, scelerum Deus ultor Idumes\\nExcidat, et Solymis perniciosa dies\\nVertite, clamabant, fundo jam vertite templum,\\nTectaque montanis jam habitanda feris.\\nTe quoq.se poena manet, Babylon quibus astra lacessis\\nCulmina mox fient, quod premis, aequa solo", "height": "3932", "width": "2472", "jp2-path": "essayonprinciple00wood_0060.jp2"}, "61": {"fulltext": "6HAP. III.\\nTRANSLATION. 41\\nFelicem, qui clade pari data damna rependet^\\nEt feret ultrices in tua tecta faces\\nFelicem, quisquis scopulis illidet acutis\\nDulcia materno pignora rapta sinu\\nI pass over the superadded idea in the\\nsecond line, lachrymce fluminis instar erant 9\\nbecause bordering on the hyperbole, it de-\\nrogates, in some degree, from the chaste\\nsimplicity of the original. To the simple\\nfact, We hanged our harps on the willows\\nin the midst thereof, which is most poeti-\\ncally conveyed by Demttas saliceta h/ras, et\\nrnuta ferebant nublia, is superadded all the\\nforce of sentiment in that beautiful expres-\\nsion,which so strongly paints the mixed emo-\\ntions of a proud mind under the influence of\\npoignant grief, heightened by shame, servill\\nnon temeranda manu. So likewise in the\\nfollowing stanza there is the noblest im-\\nprovement of the sense of the original\\nImperat et laetos, mediis in fletibus., hynmos,\\nQuosque Sion cecinit, nunc taciturna modos.\\nThe reflection on the melancholy silence\\nthat now reigned on that sacred hill, once", "height": "3932", "width": "2364", "jp2-path": "essayonprinciple00wood_0061.jp2"}, "62": {"fulltext": "42 PRINCIPLES OP CHAP. III.\\nvocal with their songs, is an additional\\nthought, the force of which is better felt\\nthan it can be conveyed by words.\\nAn ordinary translator sinks under the\\nenergy of his original the man of genius\\nfrequently rises above it. Horace, arraign-\\ning the abuse of riches, makes the plain and\\nhonest Ofellus thus remonstrate with a\\nwealthy Epicure, (Sat. 2. b. 2.)\\nCur eget indignus quisquam te divite\\nA question, to the energy of which it was\\nnot easy to add, but which has received\\nthe most spirited improvement from Mr\\nPope\\nHow dar st thou let one worthy man be poor\\nAn improvement is sometimes very hap-\\npily made, by substituting figure and meta-\\nphor for simple sentiment as in the fol-\\nlowing example, from Mr Mason s excel-\\nlent translation of Du Fresnoy s Art of\\nPainting. In the original, the poet, treat-", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0062.jp2"}, "63": {"fulltext": "CHAP. III. TRANSLATION, 43\\ning of the merits of the antique statues,\\nsays\\nqueis posterior nil protulit setas\\nCondignum, et non inferius longc, arte modoque.\\nThis is a simple fact, in the perusal of which\\nthe reader is struck with nothing else but\\nthe truth of the assertion. Mark how in\\nthe translation the same truth is conveyed\\nin one of the finest figures of poetry\\nwith reluctant gaze\\nTo these the genius of succeeding days\\nLooks dazzled up, and, as their glories spread,\\nHides in his mantle his diminish d head.\\nThe description of the Spring, in the se-\\ncond Georgic, is possessed of very high\\npoetic merit and the following passage,\\nfrom which Buchanan has taken the idea of\\nhis Calendce Mai z 9 is consummately beauti-\\nful\\nNon alios prima crescentis origine mundi\\nIlluxisse dies, aliumve habuisse tenorem\\nCrediderim ver illud erat, ver magnus agebat\\nOrbis, et hybernis parcebant flatibus Euri\\nQuum primae lucem pecudes hausere, virumque\\nFerrea progenies duris caput extulit arvis\\nImmissseque ferae silvis, et sidera ccelq*", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0063.jp2"}, "64": {"fulltext": "44 PRINCIPLES OP CHAP. III.\\nIn a late translation of the Georgics by\\nMr Sotheby, a work of very high merit,\\nand by far the best that has yet appeared\\nof that Poem, this passage receives a fine\\nimprovement, by the substitution of an\\napostrophe, for the simple narrative\\nYes lovely Spring when rose the world to birth,\\nThy genial radiance dawn d upon the earth\\nBeneath thy balmy air creation grew,\\nAnd no bleak gale on infant nature blew.\\nWhen herds first drank the light from earth s rude bed\\nWhen first man s iron race uprear d its head\\nWhen first to beasts the wilds and woods were given,\\nAnd stars unnumber d pav d th expanse of heaven, c.\\nIn the two following lines, Horace incul-\\ncates a striking moral truth but the figure\\nin which it is conveyed, has nothing of dig-\\nnity\\nPallida mors aequo pulsat pede pauperum tabernas\\nEegumque turres.\\nMalherbe has given to the same senti-\\nment a high portion of tenderness, and even\\nsublimity\\nLe pauvre en sa cabane, ou le chaume le couvre,\\nEst sujet a ses loix", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0064.jp2"}, "65": {"fulltext": "CHAP. Ill* TRANSLATION* 45\\nEt la garde qui veille aux barrieres du Louvre,\\nN en defend pas nos rois\\nCicero writes thus to Trebatius, Ep. ad\\nfam. lib. 7. ep. 17. Tanquam enim syngra-\\npham ad Lnperatorem, non epistolam attulis-\\nses, sic pecunia ablatd domam redire pr opera-\\nhas; nee tibi in mentem veniebat, eos ipsos\\nqui cum syngr aphis venissent Alexandriam^\\nnullum adhuc nummum auferre potuisse.\\nThe passage is thus translated by Melmoth,\\nb. 2. 1. 12. u One would have imagined\\nindeed, you had carried a bill of exchange\\nu upon Caesar, instead of a letter of recom-\\nmendation As you seemed to think you\\nhad nothing more to do, than to receive\\nyour money, and to hasten home again.\\nBut money, my friend, is not so easily\\nacquired and I could name some of our\\nacquaintance, who have been obliged to\\ntravel as far as Alexandria in pursuit of\\nit, without having yet been able to obtain\\nFrom the modern allusion, barrieres du Louvre, this pas-\\nsage, strictly speaking, falls under the description of imitation,\\nrather than of translation. See posted, ch. xi.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0065.jp2"}, "66": {"fulltext": "46 PRINCIPLES OF CHAP. Ill,\\neven their just demands. The expres-\\nsions, money, my friend, is not so easily ac-\\nquired and, I could name some of our\\nacquaintance are not to be found in the\\noriginal but they have an obvious connec-\\ntion with the ideas of the original they in-\\ncrease their force, while, at the same time,\\nthey give ease and spirit to the whole pas-\\nsage.\\nI question much if a licence so unbound-\\ned as the following is justifiable, on the\\nprinciple of giving either ease or spirit to\\nthe original.\\nIn Lucian s Dialogue Timon, Gnathoni-\\ndes, after being beaten by Timon, says to\\nhim,\\nAet (piXofTzafAfAav orv ys aXXa sr\u00c2\u00a3 ro ffvp ro-\\n\u00e2\u0096\u00a0triov ug Ttociov ri cot depot ray vsooioazrav OiOvgup,-\\n(3 v n%a %oyJ\u00c2\u00a3ojv,\\nYou were always fond of a joke but\\nwhere is the banquet for I have brought\\nyou a new dithirambic song, which I have\\nlately learned.\\nu", "height": "3952", "width": "2380", "jp2-path": "essayonprinciple00wood_0066.jp2"}, "67": {"fulltext": "CHAP. III. PRINCIPLES OP 47\\nIn Dryden s Lucian, translated by se-\\nveral eminent hands, this passage is thus\\ntranslated Ah Lord, Sir, I see you\\nkeep up your old merry humour still\\nyou love dearly to rally and break a jest.\\nWell but have you got a noble supper for\\nus, and plenty of delicious inspiring cla-\\nret Hark ye, Timon, I ve got a virgin-\\nsong for ye, just new composed, and smells\\nof the gamut Twill make your heart\\ndance within you, old boy. A very pret-\\nty she-player, I vow to Gad, that I have\\nan interest in, taught it me this morn-\\ning.\\nThere is both ease and spirit in this trans-\\nlation but the licence which the translator\\nhas assumed, of superadding to the ideas of\\nthe original, is beyond all bounds.\\nAn equal degree of judgment is requi-\\nsite when the translator assumes the liberty\\nof retrenching the ideas of the original.\\nAfter the fatal horse had been admitted\\nwithin the walls of Troy, Virgil thus de-", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0067.jp2"}, "68": {"fulltext": "48 PRINCIPLES OF CHAP. III.\\nscribes the coming on of that night which\\nwas to witness the destruction of the city\\nVertitur interea ecelum, et ruit oceano nox,\\nInvolvens umbra magna terramque polumque,\\nMyrmido7iumque dolos.\\nThe principal effect attributed to the\\nnight, in this description, and certainly the\\nmost interesting, is its concealment of the\\ntreachery of the Greeks. Add to this, the\\nbeauty which the picture acquires from this\\nassociation of natural with moral effects.\\nHow inexcusable then must Mr Dryden ap-\\npear, who, in his translation, has suppressed\\nthe Myrmidonumque dolos altogether\\nMean time the rapid heav ns roll d down the light,\\nAnd on the shaded ocean rush d the night\\nOur men secure, c.\\nOgilby, with less of the spirit of poetry,\\nhas done more justice to the original\\nMeanwhile night rose from sea, whose spreading shade\\nHides heaven and earth, and plots the Grecians laid.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0068.jp2"}, "69": {"fulltext": "CHAP. III. TRANSLATION. 49\\nMr Pope, in his translation of the Iliad,\\nhas, in the parting scene between Hector\\nand Andromache (vi. 466), omitted a parti-\\ncular respecting the dress of the nurse,\\nwhich he thought an impropriety in the\\npicture. Homer says,\\nA\\\\J/ o tret ig Kgog zohirov Yv^moio riOqvns\\nThe boy crying, threw himself back into\\nthe arms of his nurse, whose waist was\\nelegantly girt. Mr Pope, who has sup-\\npressed the epithet descriptive of the waist,\\nhas incurred on that account the censure of\\nMr Melmoth, who says, He has not touch-\\nw ed the picture with that delicacy of pen-\\ncil which graces the original, as he has\\nentirely lost the beauty of one of the fi-\\ngures.-r-^Though the hero and his son\\nu were designed to draw our principal at-\\ntention, Homer intended likewise that\\nwe should cast a glance towards the\\nnurse. Fitzosborme s Letters, 1. 43. If\\nthis was Homer s intention, he has, in\\nmy opinion, shewn less good taste in this\\nD", "height": "3932", "width": "2316", "jp2-path": "essayonprinciple00wood_0069.jp2"}, "70": {"fulltext": "50 PRINCIPLES OF CHAP. III.\\ninstance than his translator, who has, I\\nthink with much propriety, left out the com-\\npliment to the nurse s waist altogether.\\nAnd this liberty of the translator was per-\\nfectly allowable for Homer s epithets are\\noften nothing more than mere expletives,\\nor additional designations of his persons.\\nThey are always, it is true, significant of\\nsome attribute of the person but they are\\noften applied by the poet in circumstances\\nwhere the mention of that attribute is quite\\npreposterous. It would shew very little\\njudment in a translator, who should honour\\nPatroclus with the epithet of godlike, while\\nhe is blowing the fire to roast an ox or be-\\nstow on Agamemnon the designation of\\nKing of mam; nations, while he is helping\\nAjax to a large piece of the chine.\\nBut, on the other hand, it is evident, that\\nno such liberty of retrenchment is pardonable\\nin a translator, when the epithet suppressed\\nis characteristic of the object, or gives addi-\\ntional force to the sentiment. Thus, in the\\nopening part of the scene above alluded to,", "height": "3952", "width": "2392", "jp2-path": "essayonprinciple00wood_0070.jp2"}, "71": {"fulltext": "CHAP. III.\\nTRANSLATION* 51\\nwhere Andromache comes out to meet her\\nhusband\\nf/ H oi %xifl yvlii? 9 Uf-uc cipQiTroXoi; zizv aCry,\\nUoLtd i7Tf Z0X7TOV i^QiT CCTXXcttypOVX, V^TTtOV CLVTUq.,\\nExlopioriV uyx7rylov uXiyKM ks ipi xxXa.\\nThe nurse stood near, in whose embraces prest,\\nHis only hope hung smiling at her breast,\\nWhom each soft charm and early grace adorn,\\nFair as the new-born star that gilds the morn.\\nMr Pope has here inexcusably suppres-\\nsed the highly significant epithet, o/aXacp^va,\\nwhich so beautifully expresses the insensibly\\nlit jl of the infant having no feeling of its\\nown misery\\nIt were to be wished, that Mr Melmoth,\\nwho is certainly one of the best of the Eng-\\nlish translators, had always been as scrupu-\\nlous in retrenching the ideas of his author,\\nas we might have expected from his censure\\nof Mr Pope. Cicero thus superscribes one\\nof his letters: M. T. C. Terentia, et Pater\\nsuavissimce jilia Tulliola, Cicero matri et so-\\nrori D. (Ep. Fam. 1. 14. ep. 18.) And\\nd2", "height": "3932", "width": "2316", "jp2-path": "essayonprinciple00wood_0071.jp2"}, "72": {"fulltext": "S2 PRINCIPLES OF CHAP. XII.\\nand another in this manner Tullius Teren-\\ntice, et Pater Tullioltz, duabus animis suis, et\\nCicero Matri optima^ suavissimce sorori. (Lib.\\n14. ep. 14.) Why are these addresses en-\\ntirely sunk in the translation, and a naked\\ntitle poorly substituted for them, To Te-\\nrentia and Tullia, and To the same\\nThe addresses to these letters give them\\ntheir highest value, as they mark the warmth\\nof the author s heart, and the strength of\\nhis conjugal and paternal affections.\\nIn one of Pliny s Epistles, speaking of\\nRegulus, he says, Ut ipse mihi dixerit quum\\nconsuleret, quam cito sestertium sexcenties\\nimpleturus esset, invenisse se exta duplicata,\\nquibus portendi ?iiillie$ et ducenties habiturum,\\n(Plin. Ep. 1. ep. 20,) Thus translated by\\nMelmoth That he once told me, upon\\nconsulting the omens, to know how soon\\nhe should be worth sixty millions of ses-\\nterces, he found them so favourable to\\nhim as to portend that he should pos-\\nsess double that sum. Here a material\\npart of the original idea is omitted no\\nless than that very circumstance upon which", "height": "3952", "width": "2388", "jp2-path": "essayonprinciple00wood_0072.jp2"}, "73": {"fulltext": "CHAP. III. TRANSLATION. 53\\nthe omen turned, viz. that the entrails of\\nthe victim were double.\\nClaudian thus describes a rotnantic so-\\nlitude on the sea-coat, near Marseilles, which\\nwas feigned to be haunted by spirits\\nEst locus extremum pandit qua Gallia littus\\nOceani prcetentus aquis, quafertur Ulysses\\nSanguine libato populum movisse silentum\\nIllic umbrarum tenui stridore volantdm\\nFlebilis auditur questus simulacra coloni\\nPallida, defunctasque vident migrare Jiguras.\\nClaud. In Ruf. I. U\\nThus translated by Mr Addison\\nA place there lies on Gallia s utmost bounds,\\nWhere rising seas insult the frontier grounds\\nUlysses here the blood of victims shed,\\nAnd rais d the pale assembly of the dead\\nOft in the winds is heard a plaintive sound\\nOf melancholy ghosts that hover round\\nThe lab ring plowman oft with horror spies\\nThin airy shapes, that o er the furrows rise,\\nA dreadful scene and skim before his eyes\\nRemattcs on several parts of Italy\\nd3", "height": "3932", "width": "2308", "jp2-path": "essayonprinciple00wood_0073.jp2"}, "74": {"fulltext": "54 PRINCIPLES OP CHAP. III.\\nThis translation, on the whole, has much\\nmerit and the latter part, The lab ring\\nplowman, c. perhaps improves on the\\nbeauty of the original but one circum-\\nstance eminently characteristic, is very im-\\nperfectly conveyed, tenui stridore volantum\\nthe faint rushing sound of the spirits in\\ntheir flight.\\nAnalogous to the liberty of adding to or\\nretrenching from the ideas of the original,\\nis the privilege which a translator may as-\\nsume of correcting what appears to him a\\ncareless or inaccurate expression of the ori-\\nginal, where that inaccuracy seems materi-\\nally to affect the sense. Tacitus says, when\\nTiberius was entreated to take upon him the\\ngovernment of the empire, llle varie dissere-\\nbat, de magnitudine imperii, sua modestia.\\nAn. 1. 1. c. 11. Here the word modestia is\\nimproperly applied. The author could not\\nmean to say, that Tiberius discoursed to the\\npeople about his own modesty. He wished\\nthat his discourse should seem to proceed\\nfrom modesty but he did not talk to them\\nabout his modesty. D Alembert saw this", "height": "3932", "width": "2388", "jp2-path": "essayonprinciple00wood_0074.jp2"}, "75": {"fulltext": "CHAP. III. TRANSLATION. 55\\nimpropriety, and he has therefore well trans-\\nlated the passage II repondit par des\\ndiscours gen6raux sur son peu de talent,\\net sur la grandeur de F empire.\\nA similar impropriety, not indeed affect-\\ning the sense, but offending against the dig-\\nnity of the narrative, occurs in that passage\\nwhere Tacitus relates, that Augustus, in the\\ndecline of life, after the death of Drusus, ap-\\npointed his son Germanicus to the command\\nof eight legions on the Rhine, At, hercule,\\nGermanicum Druso ortum octo apud Rhe-\\nnum legionibus imposuit, An. 1. 1. c. 3. There\\nwas no occasion here for the historian swear-\\ning and though, to render the passage with\\nstrict fidelity, an English translator must\\nhave said, Augustus, Egad, gave German\\nnicus, the son of Drusus, the command of\\neight legions on the Rhine, we can-\\nnot hesitate to say, that the simple fact is\\nbetter announced without such embellish-\\nment.\\nIt may be stated as a general observation,\\nthat the nature of the work ought to regu-\\nd4", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0075.jp2"}, "76": {"fulltext": "56 PRINCIPLES OF CHAP. III.\\nlate the conduct of the translator with re-\\ngard to the strictness he must observe, or\\nthe liberties he may use with his original.\\nWorks which consist of fact and detail de-\\nmand a more scrupulous fidelity than those\\nof which the basis is sentiment.\\nWe have very little of professed transla-*\\ntion from the pen of Justus Lipsius, except\\nsome small portions of Polybius, which were\\nnecessary for illustrating his own Treatise\\non the Roman Art of War. These passages\\nare rendered into Latin with the most exact\\nconformity to the original text the writer\\njustly remarking, that in interpreting those\\nparts of an ancient author which treat of\\ncontroverted facts, or contain descriptions\\nthat admit of different opinions, even the\\nchange of a single word may be of conse-\\nquence cum de re agitur, verbum additum\\naut omissum, aut laxius etiam redditum, mag-\\nnets facit vel mutationes, vel errationes.\\nThat the same learned writer judged so scru-\\npulous a fidelity by no means requisite in\\nthe exercise of the usual duty of a transla-\\ntor, we learn from the advice he gives ta", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0076.jp2"}, "77": {"fulltext": "CHAP. III. TRANSLATION. 5*t\\na friend, who was then engaged in trans-\\nlating the Treatise De Constantia (a work\\nof Lipsius) into German. This advice,\\nwhich, though given in the writer s quaint\\nmanner, is equally the result of a sound\\njudgment and a just taste, is applicable\\nto all works of which sentiment and elo-\\nquence are the basis, rather than fact of\\nnarration Const antiam nostram\u00e2\u0080\u0094vertis.\\nVidi specimen et probo* Illud tamen vellem,\\nplus aliquid tibi permitteres, nee vestigia us-\\nqucquaque sermonis Latini premeres pede\\ntarn certo. Arcta per hanc cur am versio, as-\\ntricta, tenuis, sape obscura. Est sum itf*\\ndelicet cuique lingua genius, quern noli avel-\\nlas, nee temere migrare jusser is in corpus alie-\\nnum. Quam mult a Latine breviter scripse-\\nrim qua si totidem verbis transferas, sen-\\ntentia nee plana satis, nee plena sit Qudm\\nmult a recte et alte\\\\ qua in alia lingua jace*\\nant, aut vacillent Quod iis prcesertim eve*\\nnit, quorum stilus paullo magis ab eruditione\\nhabet et a curd. Jam allusiones illas anno*\\nminationes, fiexus, et in uno sape verbo ima-\\ngines, qua tarn dextra mens vertat, ut eadem\\nvk Us aut Venus Exorbita igitur et hoc", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0077.jp2"}, "78": {"fulltext": "58 PRINCIPLES OF CHAP. III.\\nerit rectam in vertendo viam tenere, viam non\\ntenere.\\nBut if such was Lipsius s opinion of the\\nfreedom which ought to be allowed, and is\\neven required in the translation of a rheto-\\nrical composition, we have seen, that both\\nby his precept and example, he disappro-\\nved of all amplification in works of an histo-\\nrical nature, cum de re agitur. It is indeed\\nmuch to be regretted, when works of this\\nkind fall, by unlucky chance, into the hands\\nof a pedantic translator, who piques himself\\non his talent for elegant embellishment. In\\nthe Latin version by Bartolomseus Facius\\nof Arrian s History of the Expedition of\\nAlexander, the original work, which in the\\nsimplicity of the narrative rivals the compo-\\nsition of Xenophon or Caesar, is in a thou-\\nsand instances miserably disfigured by the\\nimpertinent amplifications and rhetorical\\nornaments of the translator. I shall give a\\nsingle specimen, which is noticed in the\\nPreface by Vulcanius to Henry Stephen s\\nedition of Arrian, 1575. The Greek au-\\nthor, mentioning the false report of Alex-", "height": "3932", "width": "2392", "jp2-path": "essayonprinciple00wood_0078.jp2"}, "79": {"fulltext": "CHAP. III. TRANSLATION. 59\\nander s death, in consequence of a wound\\nreceived in fighting against the Malli, and\\nthe effect which that report had upon the\\nGrecian army, says,\\nKa rc\\\\ psv TTgarct olftayij qv rq$ fgulioig |t\u00c2\u00bb^-\\ntroMrrjS, ocXXa ctXka Kctgcthiiovlog rrjv (pqfW vctv-\\ncatAWOi de rrig otfjbvyqg, ctQvpoi re zcti ukopoi qmv,\\no?ig [a\\\\v sSgrjyzfASi/og strict i rqg fgofltoig, (noXXoig\\nyctg dy sv itrta ret Trig ct^icutrsag iioxet itgog rz a\u00c2\u00ab7*\\nAXsfai^* sect) rgoc, M.ctzed6vav zctDzfiinsvctt)\\nAt first there was a general voice of la-\\nmentation through the whole army each\\nman conveying the disastrous intelligence\\nto his neighbour but when that lamenta-\\ntion abated, all became anxious and doubt-\\nful who should be the proper person to\\ntake the chief command (for there were\\nseveral officers who, in the judgment both\\nof the Macedonians and of Alexander\\nhimself, seemed to be equally deserving\\nof that important charge). Such is the\\nliteral sense of the passage let us now ob-\\nserve how it is rendered bv Facius. Ac\\nprimiim quidem ejulatus ac fremitus toth", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0079.jp2"}, "80": {"fulltext": "60 PRINCIPLES OP CHAP. III.\\ncastrisfuit, regis suifortunam deplorantium\\nTanturn imperatorem ac duce?n in tanto ceta-\\ntisflore, tantisque rebus gestis, in ipso rerum\\ncardine, quum is totum orbem terrarum im-\\nperio suo subjecturus videretur, sibi immatura\\nmorte ereptum* Invidisse Deos f elicit at i ejus,\\nqui invictum per tot gentes regem^ atque om-\\nnibus terris formidabilem, et Deo quam mor-\\ntali similiorem, e vita sustulissent* Deinde\\nad se conversi, sort em suam deplorare ac la-\\nmentari, animi simul et consilii inopes, quis-\\nnam tanti exercitus dux^postliac futurus esset,\\ninter se mcesti requirebant. Plerique rem\\nAlexandri et Macedojium in cequo ponebant.\\nIn this piece of splendid declamation, which\\nmust have been allowed the praise of elo-\\nquence, if it had appeared in the speech of an\\norator, the translator is guilty of three egre-\\ngious faults He has mutilated in one part\\nhis author s sense; for AXXov cLKka nugudtiovlos\\nrnv (p /i^w is not translated at all he has, in\\nthe last clause of the sentence, mistaken the\\nauthor s meaning, in the words, voXXolg yag\\nin h Uu rijg uZioHreug, c. and he has, through\\nthe whole, introduced a variety of additional\\nideas, and reflections political and moral, re-", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0080.jp2"}, "81": {"fulltext": "CHAP. III. TRANSLATION. 61\\nGuarding the fortunes and fate of Alexander,\\nof which there is not a trace in the original\\nthus interpolating, disfiguring and disguising\\nhis author, and utterly departing from his\\nstyle and manner, so as scarcely to leave a\\nresemblance between the copy and its pro-\\ntotype,", "height": "3924", "width": "2284", "jp2-path": "essayonprinciple00wood_0081.jp2"}, "82": {"fulltext": "", "height": "3956", "width": "2444", "jp2-path": "essayonprinciple00wood_0082.jp2"}, "83": {"fulltext": "CHAP. IV. TRANSLATION* 63\\nCHAR IV.\\nOf the freedom allowed in Poetical Transla-\\ntion. Progress of Poetical Translation in\\nEngland. B. Johnson, Holiday, Sandys,\\nFanshaw, Dry den. Roscommon 9 s Essay\\non Translated Verse. Popes Homer.\\nIn the preceding chapter, in treating of the\\nliberty assumed by translators, of adding to,\\nor retrenching from the ideas of the origi-\\nnal, several -examples have been given, where\\nthat liberty has been assumed with propriety\\nboth in prose composition and in poetry. In\\nthe latter, it is more peculiarly allowable. I\\nconceive it, says Sir John Denham, a vul-\\ngar error in translating poets, to affect be-\\nmg nans interpres. Let that care be with\\nthem who deal in matters of fact or mat-", "height": "3932", "width": "2300", "jp2-path": "essayonprinciple00wood_0083.jp2"}, "84": {"fulltext": "64 PRINCIPLES OP CHAP. IT.\\nters of faith but whosoever aims at it\\nin poetry, as he attempts at what is not\\nrequired, so shall he never perform what he\\nattempts for it is not his business alone\\nto translate language into language, but\\npoesie into poesie and poesie is of so\\nsubtle a spirit, that in pouring out of one\\nlanguage into another, it will all evapo-\\nrate and if a new spirit is not added in\\nthe transfusion, there will remain nothing\\nu but a caput mortuum Denhams Pre-\\nface to the %d book of VirgiVs 2E?ieid.\\nIn poetical translation, the English wri-\\nters of the 16th, and the greatest part of\\nthe 17th century, seem to have had no other\\ncare than (in Denham s phrase) to translate\\nlanguage into language, and to have placed\\ntheir whole merit in presenting a literal and\\nservile transcript of their original.\\nBen Johnson, in his translation of Ho-\\nrace s Art of Poetry, has paid no attention\\nto the judicious precept of the very poem\\nhe was translating", "height": "3932", "width": "2388", "jp2-path": "essayonprinciple00wood_0084.jp2"}, "85": {"fulltext": "CHAP. IV. TRANSLATION. 65\\nNee verbum verbo curabis reddere, Jidus\\nInterpres.\\nWitness the following specimens, which will\\nstrongly illustrate Denham s judicious ob-\\nservations.\\nMortal ia facta peribunt\\nNedum sermonum stet honos et gratia vivax.\\nMulta renascentur quae jam cecidere, cadentqu.e\\nQuae nunc sunt in honore vocabula, si volet usus,\\nQuern penes arbitrium est et jus et norma loquendi.\\nDe Art. Poet.\\nAll mortal deeds\\nShall perish so far off it is the state\\nOr grace of speech should hope a lasting date.\\nMuch phrase that now is dead shall be reviv d.,\\nAnd much shall die that now is nobly liv d,\\nIf custom please, at whose disposing will\\nThe power and rule of speaking resteth still.\\nB. JOHNSOX\\nInierdum tamen et vocem Comcedia tollit,\\nIratusque Chremes tumido delitigat ore,\\nEt Tragicus plerumque dolet sermone pedestri.\\nTelephus et Peleus, cum pauper et exul uterque^\\nProjicit ampidlas et sesqidpedalia verba.\\nSi curat cor spectantis tetigisse querela;\\nE", "height": "3932", "width": "2276", "jp2-path": "essayonprinciple00wood_0085.jp2"}, "86": {"fulltext": "66\\nPRINCIPLES OP\\nCHAP. IV.\\nYet sometime doth the Comedy excite,\\nHer voice, and angry Chremes chafes outright,\\nWith swelling throat, and oft the tragic wight\\nComplains in humble phrase. Both Telephus\\nAnd Peleus, if they seek to heart-strike us,\\nThat are spectators, with their misery,\\nWhen they are poor and banish d, must throw by\\nTheir bombard-phrase, and foot-and-half-foot words.\\nB. Johnson\\nSo, in B. Johnson s translations from the\\nOdes and Epodes of Horace, besides the\\nmost servile adherence to the words, even\\nthe measure of the original is imitated.\\nNon me Lucrina juverint conchylia,\\nMagisve rhombus, aut scari,\\nSi quos Eois intonata fluctibus\\nHyems ad hoc vertat mare\\nNon Afra avis descendat in ventrem meum,\\nNon attagen Ionicus.\\nJucundior, quam lecta de pinguissimis\\nOliva ramis arborum\\nAut herba lapathi prata amantis, et gravi\\nMalvse salubres corpori.\\nHor. Epod. 2.", "height": "3932", "width": "2516", "jp2-path": "essayonprinciple00wood_0086.jp2"}, "87": {"fulltext": "CHAP. IV. TRANSLATION. 67\\nNot Lucrine oysters I could then more prize,\\nNor turbot, nor bright golden eyes\\nIf with east floods the winter troubled much\\nInto our seas send any such\\nThe Ionian godwit, nor the ginny-hen\\nCould not go down my belly then\\nMore sweet than olives that new-gather d be,\\nFrom fattest branches of the tree,\\nOr the herb sorrel that loves meadows still,\\nOr mallows loosing bodies ill.\\nB. Johnson.\\nOf the same character for rigid fidelity,\\nis the translation of Juvenal by Holiday, a\\nwriter of great learning, and even of criti-\\ncal acuteness, as the excellent commentary\\non his author fully shews.\\nOmnibus in terris quce sunt a Gadibus usque\\nAuroram et Gangem pauci dignoscere possunt\\nVera bona, atque Mis multum diversa, remote\\nErroris nebidd. Quid enim ratione timemus,\\nAnt cvpimus quid tarn dextro pede concipis, ut tc\\nConatus non poeniteat, votique peracti.\\nEvertsre domos totas optantibus ipsis\\nDiijaciles.\\nJuv. Sat. 10.\\n\u00c2\u00a32", "height": "3932", "width": "2292", "jp2-path": "essayonprinciple00wood_0087.jp2"}, "88": {"fulltext": "68 PRINCIPLES OF CHAP. IV.\\nIn all the world which between Cadiz lies\\nAnd eastern Ganges, few there are so wise\\nTo know true good from feign d, without all mist\\nOf Error. For by Reason s rule what is t\\nWe fear or wish What is t we e er begun\\nWith foot so right, but we dislik d it done\\nWhole houses th easie gods have overthrown\\nAt their fond prayers that did the houses own.\\nHoliday s Juvenal.\\nThere were, however, even in that age,\\nsome writers who manifested a better taste\\nin poetical translation. May, in his trans-\\nlation of Lucan s Pharsalia, and Sandys, in\\nhis Metamorphoses of Ovid, while they\\nstrictly adhered to the sense of their au-\\nthors, and generally rendered line for line,\\nhave given to their versions both an ease\\nof expression and a harmony of num-\\nbers, which make them approach very near\\nto original composition. The reason is,\\nthey have disdained to confine themselves\\nto a literal interpretation, but have every\\nwhere adapted their expression to the idiom\\nof the language in which they wrote.", "height": "3956", "width": "2544", "jp2-path": "essayonprinciple00wood_0088.jp2"}, "89": {"fulltext": "CHAP. IV. TRANSLATION. 69\\nThe following passage will give no unfa-\\nvourable idea of the style and manner of\\nMay. In the 9th book of the Pharsalia,\\nCaesar, when in Asia, is led from curiosity\\nto visit the Plain of Troy.\\nHere fruitless trees, old oaks with putrefy d\\nAnd sapless roots, the Trojan houses hide,\\nAnd temples of their Gods all Troy s o erspread\\nWith bushes thick, her mines ruined.\\nHe sees the bridall grove Anchises lodg d\\nHesione s rock the cave where Paris judg d\\nWhere nymph Oenone play d the place so fam d\\nFor Ganymedes rape; each stone is nam d.\\nA little gliding stream, which Xanthus was,\\nUnknown he past, and in the lofty grass\\nSecurely trode a Phrygian straight forbid\\nHim tread on Hector s dust (with ruins hid,\\nThe stone retain d no sacred memory.)\\nRespect you not great Hector s tomb, quoth he\\nO great and sacred work of poesy,\\nThat free st from fate, and giv st eternity\\nTo mortal wights But Caesar, envy not\\nTheir living names, if Roman Muses aught\\nMay promise thee, while Homer s honoured\\nBy future times, shall thou, and I, be read\\ne3", "height": "3932", "width": "2300", "jp2-path": "essayonprinciple00wood_0089.jp2"}, "90": {"fulltext": "^0 PRINCIPLES OF CHAP. IT.\\nNo age shall us with darke oblivion staine,\\nBut our Pharsalia ever shall remain.\\nMay s Lucan. b. Q.\\nJam silvae steriles, et putres robore trunci\\nAssaraci pressere domos, et templa deorum\\nJam lassa radice tenent ac tota teguntur\\nPergama dumetis etiam periere ruinae.\\nAspicit Hesiones scopulos, silvasque latentes\\nAnchisae thalamos quo judex sederit antro\\nUnde puer raptus coelo quo vertice Nais\\nLuserit Oenone nullum est sine nomine saxum.\\nInscius in sicco serpentem pulvere rivum\\nTransierat, qui Xanthus erat securus in alto\\nGramine ponebat gressus Phrj x incola manes\\nHectoreos calcare vetat discussa jacebant\\nSaxa, nee ullius faciem servantia sacri\\nHectoreas, monstrator ait, non respicis aras\\nO sacer, et magnus vatum labor omnia fato\\nEripis, et populis donas mortalibus aavum\\nInvidia sacral, Caesar, ne tangere famae\\nNam siquid Latiis fas est promittere Musis,\\nQuantum Smyrnei durabunt vatis honores,\\nVenturi me teque legent Pharsalia nostra\\nVivet, et a nullo tenebris damnabitur aevo.\\nPliarsal. I g.", "height": "3932", "width": "2536", "jp2-path": "essayonprinciple00wood_0090.jp2"}, "91": {"fulltext": "CHAP. IV.\\nTRANSLATION. 71\\nIndependently of the excellence of the\\nabove translation, in completely conveying\\nthe sense, the force, and spirit of the ori-\\nginal, it possesses one beauty which the more\\nmodern English poets have entirely neglect-\\ned, or rather purposely banished from their\\nversification in rhyme I mean the varied\\nharmony of the measure, which arises from\\nchanging the place of the pauses. In the\\nmodern heroic rhyme, the pause is almost\\ninvariably found at the end of a couplet.\\nIn the older poetry, the sense is continued\\nfrom one couplet to another, and closes in\\nvarious parts of the line, according to the\\npoet s choice, and the completion of his\\nhis meaning\\nA little gliding stream, which Xanthus was,\\nUnknown he past and in the lofty grass\\nSecurely trode a Phrygian straight forbid\\nHim tread on Hector s dust with ruins hid,\\nThe stone retain d no sacred memory.\\nHe must be greatly deficient in a musi-\\ncal ear, who does not prefer the varied bar-\\ne 4", "height": "3932", "width": "2304", "jp2-path": "essayonprinciple00wood_0091.jp2"}, "92": {"fulltext": "72 PRINCIPLES OF CHAP. IV.\\nmony of the above lines to the uniform\\nreturn of sound, and chiming measure of\\nthe following\\nHere all that does of Xanthus stream remain.\\nCreeps a small brook along the dusty plain.\\nWhile careless and securely on they pass.\\nThe Phrygian guide forbids to press the grass\\nThis place, he said, for ever sacred keep,\\nFor here the sacred bones of Hector sleep\\nThen warns him to observe, where rudely cast,\\nDisjointed stones lay broken and defac d.\\nRowe s Lucan.\\nYet the Pharsalia by Rowe is, on the\\nwhole, one of the best of the modern trans-\\nlations of the classics. Though sometimes\\ndiffuse and paraphrastical, it is in general\\nfaithful to the sense of the original the\\nlanguage is animated, the verse correct\\nand melodious and when we consider the\\nextent of the work, it is not unjustly\\ncharacterised by Dr Johnson, as one of\\nthe greatest productions of English poe-\\ntry.", "height": "3932", "width": "2508", "jp2-path": "essayonprinciple00wood_0092.jp2"}, "93": {"fulltext": "CHAP. IV.\\nTRANSLATION. 73\\nOf similar character to the versification\\nof May, though sometimes more harsh in\\nits structure, is the poetry of Sandys\\nThere s no Alcyone none,, none she died\\nTogether with her Cej^x. Silent be\\nAll sounds of comfort. These, these eyes did see\\nMy shipwrecked Lord. I knew him and my hands\\nThrust forth t have held him but no mortal bands\\nCould force his stay. A ghost yet manifest,\\nMy husband s ghost which, Oh, but ill express d\\nHis forme and beautie, late divinely rare\\nNow pale and naked, with yet dropping haire\\nHere stood the miserable in this place\\nHere, here (and sought his aerie steps to trace).\\nSandys Ovid, b. 11.\\nNulla est Alcyone, nulla est, ait occidit una\\nCum Ceyce suo solantia tollite verba\\nNaufragus interiit vidi agnovique, manusque\\nAd discedentem, cupiens retinere, tetendi.\\nUmbra fuit sed et umbra tamen manifesto, virique\\nVera mei non ille quidem, si quceris, habebat\\nAssuetos vultus, nee quo prius ore nitebat.\\nTallentem, nudumque, et adhuc humente capillo.", "height": "3932", "width": "2276", "jp2-path": "essayonprinciple00wood_0093.jp2"}, "94": {"fulltext": "74 PRINCIPLES OF CHAP. IV*\\nInfelix vidi stetit hoc miserabilis ipso\\nEcce loco (et qucerit vestigia siqua supersint.)\\nMetam. I 11.\\nIn the above example, the solantia tollite\\nverba is translated with peculiar felicity,\\nSilent be all sounds of comfort as are\\nthese words, Aec quo prius ore nitebat y\\nWhich, oh but ill express d his forme\\nand beautie. No mortal bands could\\nforce his stay, has no strictly correspond-\\ning sentiment in the original. It is a hap-\\npy amplification which shews that Sandys\\nknew what freedom was allowed to a poeti-\\ncal translator, and could avail himself of\\nit.\\nFrom the time of Sandys, who published\\nhis translation of the Metamorphoses of\\nOvid, in 1626, there does not appear to\\nhave been much improvement in the art of\\ntranslating poetry till the age of Dry den\\nIn the poetical works of Milton, we find many noble\\nimitations of detached passages of the ancient classics but\\nthere is nothing that can be termed a translation, unless aa", "height": "3956", "width": "2460", "jp2-path": "essayonprinciple00wood_0094.jp2"}, "95": {"fulltext": "CHAP. IV. TRANSLATION. 75\\nfor though Sir John Denham has thought\\nproper to pay a high compliment to Fan-\\nshaw on his translation of the Pastor* Fido y\\nterming him the inventor of a new and\\nnobler way of translation, we find no-\\nthing in that performance which should en-\\ntitle it to more praise than the Metamoiv\\nphoses by Sandys, and the Pharsalia by\\nMay f,\\nEnglish version of Horace s Ode to Pyrrha which it is pro-*\\nbable the author meant as a whimsical experiment of the ef-\\nfect of a strict conformity in English both to the expression\\nand measure of the Latin. See this singular composition in\\nthe Appendix, NO. 2.\\nThat servile path thou nobly dost decline,\\nOf tracing word by word, and line by line.\\nA new and nobler way thou dost pursue,\\nTo make translations and translators too\\nThey but preserve the ashes, thou the flame\\nTrue to his sense, but truer to his fame.\\nDenham to Sir R. Fanshavf.\\nt One of the best passages of Fanshaw s translation of the\\nPastor Fido, is the celebrated apostrophe to Spring", "height": "3932", "width": "2288", "jp2-path": "essayonprinciple00wood_0095.jp2"}, "96": {"fulltext": "/O PRINCIPLES OF CHAP. IV.\\nBut it was to Dryden that poetical trans-\\nlation owed a complete emancipation from\\nher fetters and exulting in her new liber-\\nty, the danger now w r as, that she should run\\nSpring, the year s youth, fair mother of new flowers,\\nNew leaves, new loves, drawn by the winged hours.\\nThou art return d but the felicity\\nThou brought st me last is not return d with thee.\\nThou art return d but nought returns with thee.\\nSave my lost joy s regretful memory.\\nThou art the self-same thing thou wert before,\\nAs fair and jocund but I am no more\\nThe thing I was, so gracious in her sight,\\nWho is heavens masterpiece and earth s delight.\\nO bitter sweets of love far worse it is\\nTo lose than never to have tasted bliss.\\nO Primavera gioventu del anno,\\nBella madre di nori,\\nD herbe novelle, e di novelli amori\\nTu torni ben, ma teco,\\nNon tornano i sereni\\nE fortunati di de le mie gioie\\nTu torni ben, tu torni,\\nMa teco altro non torna\\nGhe del perduto mio caro tesoro\\nLa rimembranza misera e dolente.", "height": "3932", "width": "2512", "jp2-path": "essayonprinciple00wood_0096.jp2"}, "97": {"fulltext": "CHAP. IV. TRANSLATION. 77\\ninto the extreme of licentiousness. The\\nfollowers of Dryden saw nothing so much\\nto be emulated in his translations as the\\nease of his poetry Fidelity was but a se-\\ncondary object, and translation for a while\\nwas considered as synonymous with para-\\nphrase. A judicious spirit of criticism was\\nnow wanting, to prescribe bounds to this\\nincreasing licence, and to determine to what\\nprecise degree a poetical translator might\\nassume to himself the character of an ori-\\nginal writer. In that design, Roscommon\\nwrote his Essay on Translated Verse; in\\nTu quella se tu quella,\\nCh eri pur dianzi vezzosa e bella.\\nMa non son io gia quel ch un tempo fui\\nSi earo a gli occhi altrui.\\nO dolcezze amarissime d amore\\nQuanto e piu duro perdervi, che mai\\nNon v haver 6 provate, 6 possedute\\nPastor Fido, act 3. sc. 1.\\nIn those parts of the English version which are marked in\\nItalics, there is some attempt towards a freedom of transla-\\ntion but it is a freedom of which Sandys and May had long\\nbefore given many happier specimens.", "height": "3924", "width": "2384", "jp2-path": "essayonprinciple00wood_0097.jp2"}, "98": {"fulltext": "78 PRINCIPLES OF CHAP. IV.\\nwhich, in general, he has shewn great cri-\\ntical judgment but proceeding, as all re-\\nformers, with rigour, he has, amidst many\\nexcellent precepts on the subject, laid down\\none rule, which every true poet (and such\\nonly should attempt to translate a poet)\\nmust consider as a very prejudicial restraint.\\nAfter judiciously recommending to the\\ntranslator, first to possess himself of the\\nsense and meaning of his author, and then\\nto imitate his manner and style, he thus pre-\\nscribes a general rule,\\nYour author always will the best advise\\nFall when he falls, and when he rises, rise.\\nFar from adopting the former part of\\nthis maxim, I conceive it to be the duty of\\na poetical translator, never to suffer his ori-\\noinal to fall He must maintain with him\\nI am aware, that a sense may be given to this precept\\nof Roscommon, which will justify its propriety Let the\\nelevation of the copy keep pace with that of the original,\\nwhere the subject requires elevation of expression let it\\nimitate it likewise in plainness and simplicity, if such be", "height": "3932", "width": "2560", "jp2-path": "essayonprinciple00wood_0098.jp2"}, "99": {"fulltext": "CHAP. IV. TRANSLATION. 79\\na perpetual contest of genius lie must at-\\ntend him in his highest flights, and soar, if\\nhe can, beyond him and when he perceives,\\nany time, a diminution of his powers, when\\nhe sees a drooping wing, he must raise him.\\non his own pinions Homer has been\\njudged by the best critics to fall at times\\nbeneath himself, and to offend, by introdu-\\ncing low images and puerile allusions. Yet\\nhow admirably is this defect veiled over,\\nor altogether removed, by his translator\\nPope. In the beginning of the 8th book\\nthe character which the sentiment requires. I have na\\nfault to find with the precept, if so qualified.\\nA very ingenious critic, to whom I am indebted for a\\nsingularly able and candid review of this Essay in the Eu-\\nropean Magazine, for September and October 1793, has cen-\\nsured this opinion as allowing to translators a liberty of de-\\nparting from that truth and fidelity of representation, which\\nit is their first duty rigidly to observe. But in a subsequent\\npart of the same criticism, it appears, that this difference of\\nopinion is more a seeming than a real opposition of sentiment s\\nand I am happy to find the opinion I have advanced on this\\nhead, sanctioned by so respectable an authority as that of M.\\nDelille whose translation of the Georgics of Virgil, though\\ncensurable (as I shall remark) in a few particulars, is, on the\\nwhole, a very fine performance, II faut etre quelquefois", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0099.jp2"}, "100": {"fulltext": "80 PRINCIPLES OF CHAP. IV.\\nof the Iliad, Jupiter is introduced in great\\nmajesty, calling a council of the gods, and\\ngiving them a solemn charge to observe a\\nstrict neutrality between the Greeks and\\nTrojans\\nZevg os @\u00c2\u00a3ouy ccyo^rjy 7roif i o (x,70 regTizzgavvog,\\nAzooTtzrq zogv^rj 7ro kvo ztgccSog OuXvu^oio-\\nAurora with her saffron robe, had\\nu spread returning light upon the world,\\nwhen Jove delighting-in-thunder sum-\\nsUperieur a son original, precisement parce qu on lui est\\ni c tres-infe-rieur. Delille Disc. Prelim, a la Trad. de$\\nGeorgiques. Of the same opinion is the elegant author of\\nthe poem on Translation\\nUnless an author like a mistress warms,\\nHow shall we hide his faults, or taste his charms\\nHow all his modest, latent beauties find\\nHow trace each lovelier feature of the mind\\nSoften each blemish, and each grace improve,\\nAnd treat him with the dignity of love\\nFrancklin,", "height": "3932", "width": "2564", "jp2-path": "essayonprinciple00wood_0100.jp2"}, "101": {"fulltext": "CHAP. IT. TRANSLATION. 81\\nmoned a council of the gods upon the\\nhighest point of the many-headed Olym-\\npus; and while he thus harangued, all\\nthe immortals listened with deep atten-\\ntion, This is a very solemn opening\\nbut the expectation of the reader is mise-\\nrably disappointed by the harangue itself,\\nof which I shall give a literal translation,\\nKexXvrs ftev 9 wkfleg re 9-so/, sraVa/ re %eaimi x\\n3 0 pg ana), rk yue Svpog h) sr$ur ri zeXevei*\\nM?jrg rig kv S^Xs/a %eog toys, pyre rig ag rqv\\nUeigkrcj $ia.Kig rcLi spov i og kXX kftcc wkfleg\\nAivetr otygct rky^i^ct reXevrqca rk^e igyct*\\nOv kv eyatv knkyev^e %e\u00c2\u00a3v e^eXovloc yofitrat\\nEX ov?, b Tg s(r rtv kgqyepei/, r\\\\ Auvuoto i,\\nUXyjyetg v zc ra no rfrov eXev rera,i OvXvfJLTrovds*\\nH puv km pi-^co eg Tkgrugov rjegoevlcc,\\nT5jfXe fiaXX\\\\ fyi j3k0isov vvo %0ovog est (3ege0gov,\\nEv\u00c2\u00a7u (ndtjg tuimzvXut km) y/kXsceog xhog,\\nlotrcov evegv aioecj, o ro)t aguyog is uno youqg*\\nTveiffsr eweiff orov fM Sew x grtfog knkvlav*\\nEi y ays, TzeigYi r x, r0e Sec), JW elders zzkvleg,\\n2s/^y %gv r ijv If sgavoOev xge^ktravjeg*\\nTlkvleg y \\\\%k r z\\\\s j0e soi, sraVa/ re 0tatwf\\nAXX-tfis kv ft egvcatr sf ig vo B* zttdiovi$\\nW", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0101.jp2"}, "102": {"fulltext": "82 PRINCIPLES OF CHAP. IV*\\nAXA org 5^ koc) \\\\yoj irgo pgw i\u00c2\u00a7t\\\\oif i ig6 r(roti\\nAvry ksv ycciri zgvraifA avrtj re ^cbkcMrtry-\\n*\u00c2\u00a3i4grp f/Av zsv iKStra, vsp) piov OvXvfjwow\\nAqtraifAtiv tgc 5s avre {Aerriogcx, kclwcl yivoiro\\nTocnrov lyco wept r tM S S^v, ^rs| r etf/J avflg Tav\\nHear me, all ye gods and goddesses,\\nwhilst I declare to you the dictates of\\nmy inmost heart. Let neither male nor\\nfemale of the gods attempt to controvert\\nwhat I shall say but let all submissively\\nassent, that I may speedily accomplish my\\nundertakings for whoever of you shall\\nbe found withdrawing to give aid either\\nto the Trojans or Greeks, shall return to\\nOlympus marked with dishonourable\\nwounds or else I will seize him, and\\nhurl him down to gloomy Tartarus, where\\nthere is a deep dungeon under the earth,\\nwith gates of iron, and a threshold of\\nbrass, as far below hell, as the earth is be-\\nlow the heavens. Then he shall know\\nhow much stronger I am than all the\\nother gods. But come now, Gods, and make", "height": "3932", "width": "2580", "jp2-path": "essayonprinciple00wood_0102.jp2"}, "103": {"fulltext": "CHAP. IV. TRANSLATION. 83\\ntrial, that ye may all be convinced. Sus-\\npend a golden chain from heaven, and\\nhang all by one end of it, with your whole\\nweight, gods and goddesses together you\\nwill never pull down from the heaven to\\nthe earth, me, Jupiter, the supreme coun-\\nseller, though you should strain with your\\nutmost force. But when I choose to pull,\\nI will raise you all, with the earth and\\nsea together, and fastening the chain to\\nthe top of Olympus, will keep you all\\nsuspended at it. So much am I superior\\nboth to gods and men.\\nOr, as the same speech is rendered in a\\nsimilar strain of tame fidelity, w r ith the ad-\\ndition only of metrical rhythm, by Cowper\\nGods goddesses inhabitants of heaven\\nAttend I make my secret purpose known.\\nLet neither god nor goddess interpose\\nMy counsel to rescinds but with one heart\\nApprove it, that it reach at once its end.\\nWhom I shall mark soever from the rest\\nWithdrawn, that he may Greeks or Trojans aid;,\\nDisgrace shall find him shamefully chastised\\nHe shall return to the Olympian height.\\nOr I will hurl him deep into the gulphs\\nr2", "height": "3932", "width": "2304", "jp2-path": "essayonprinciple00wood_0103.jp2"}, "104": {"fulltext": "84 PRINCIPLES OF CHAP. IV.\\nOf gloomy Tartarus, where hell shuts fast\\nHer iron gates, and spreads her brazen floor,\\nAs far below the shades, as earth from heaven.\\nThere shall he learn how far I pass in might\\nAll others which if ye incline to doubt,\\nNow prove me. Let ye down the golden chain\\nFrom heaven, and at its nether links pull all,\\nBoth goddesses and gods. But me your king\\nSupreme in wisdom, ye shall never draw\\nTo earth from heaven, toil adverse as ye may\\nYet I, when once I shall be pleas d to pull,\\nThe earth itself, itself the sea, and you\\nWill lift with ease together, and will wind\\nThe chain around the spiry summit sharp,\\nOf the Olympian, that all things upheav d\\nShall hang in the mid heaven. So far do I\\nCompared with all who live, transcend them all.\\nIt must be owned, that this speech is far\\nbeneath the dignity of the Thunderer that\\nthe braggart vaunting in the beginning of\\nit is nauseous and that a mean and ludi-\\ncrous picture is presented, by the whole\\ngroup of gods and goddesses pulling at one\\nend of a chain, and Jupiter at the other.\\nTo veil these defects in a translation, was", "height": "3956", "width": "2580", "jp2-path": "essayonprinciple00wood_0104.jp2"}, "105": {"fulltext": "CHAP. IV. TRANSLATION. 85\\ndifficult but to give any degree of dig-\\nnity to this speech, required certainly most\\nuncommon powers. Cowper, an excellent\\nWitness the attempt of a translator of no ordinary abi-\\nlity.\\nPulchra mari, crocea surgens in veste, per omnes\\nFundebat sese terras Aurora deorum\\nSummo concilium ccelo regnator habebat.\\nCuncta silent Solio ex alto sic Jupiter orsus.\\nHue aures cuncti, mentesque advertite vestras,\\nDique Deaeque, loquar dum quae fert corde voluntas,\\nDicta probate omnes neve hinc praecidere quisquam\\nSperet posse aliquid, seu mas seu foemina. Siquis\\nAuxilio veniens, dura inter prcelia, Troas\\nJuverit, aut Danaos, fcede remeabit Olympum\\nSaucius arreptumve obscura in Tartara longe\\nDemittam ipse manu jaciens immane barathrum\\nAlte ubi sub terram vasto descendit hiatu,\\nOrcum infra, quantum jacet infra sidera tellus\\nJEre solum, aeterno ferri stant robore portae.\\nQuam cunctis melior sim Die, turn denique discet.\\nQuin agite, atque meas jam nunc cognoscite vires,\\nIngentem heic auro e solido religate catenam,\\nDeinde manus cuncti validas adhibete, trahentes\\nAd terram non ulla fuat vis tanta, laborque,\\nf3", "height": "3932", "width": "2380", "jp2-path": "essayonprinciple00wood_0105.jp2"}, "106": {"fulltext": "86 PRINCIPLES OP CHAP. IV.\\npoet, it is plain from the foregoing speci-\\nmen, has failed egregiously. Yet I am\\nmuch mistaken, if Mr Pope has not happi-\\nly succeeded. I shall take the passage from\\nthe beginning\\n(t Aurora now, fair daughter of the dawn,\\nSprinkled with rosy light the dewy lawn,\\nWhen Jove conven d the senate of the skies,\\nWhere high Olympus cloudy tops arise,\\nThe sire of Gods his awful silence broke,\\nc The heavens attentive, trembled as he spoke.\\nCelestial states, immortal gods give ear\\n(t Hear our decree, and reverence what ye hear\\nThe fix d decree, which not all heaven can move\\nec Thou, fate fulfil it and, ye powers approve\\nWhat God but enters yon forbidden field,\\nWho yields assistance, or but wills to yield,\\nBack to the skies with shame he shall be driven,\\nGash d with dishonest wounds, the scorn of heaven\\nCcelesti qui sede Jovem deducere possit.\\nAst ego vos, terramque et magni coerula ponti\\nStagna traham, dextra attollens, et vertice Olympi\\nSuspendam vacuo pendebunt acre cuncta.\\nTantum supra homines mea vis, et numina supra est.\\nlUas Lot. vers, express, a Raymundo Cunighio, Rom. 177", "height": "3952", "width": "2552", "jp2-path": "essayonprinciple00wood_0106.jp2"}, "107": {"fulltext": "CHAP* IV. TRANSLATION. 8Y\\nOr far, oh far, from steep Olympus thrown,\\nLow in the dark Tartarean gulph shall groan\\nWith burning chains fix d to the brazen Moors,\\nAnd lock d by hell s inexorable doors\\nAs deep beneath th infernal centre hurl d,\\nAs from that centre to th ethereal world.\\nLet him who tempts me dread those dire abodes\\nAnd know th Almighty is the God of gods.\\nLeague all your forces then, ye pow rs above,\\nc Join all, and try th omnipotence of Jove\\nLet down our golden everlasting chain,\\nWhose strong embrace holds Heaven, and Earth, and\\nMain:\\nf Strive all, of mortal and immortal birth,\\nTo drag by this, the Thunderer down to earth\\nYe strive in vain If I but stretch this hand,\\nI heave the gods, the ocean and the land\\nI fix the chain to great Olympus height,\\nAnd the vast world hangs trembling in my sight I\\nFor such I reign, unbounded and above\\nf* And such are men and gods, compar d to Jove\\nf4\\nSee a translation of this passage by Hobbes, in the true\\nspirit of the Bathos. Appendix, NO. 3,", "height": "3912", "width": "2388", "jp2-path": "essayonprinciple00wood_0107.jp2"}, "108": {"fulltext": "88 PRINCIPLES OF CHAP. IV*\\nIt would be endless to point out all the\\ninstances in which Mr Pope has improved\\nboth upon the thought ^nd expression of\\nhis original. We find frequently in Homer,\\namidst the most striking beauties, some cir-\\ncumstances introduced which diminish the\\nmerit of the thought or of the description.\\nIn such instances, the good taste of the trans-\\nlator invariably covers the defect of the ori-\\nginal, and often converts it into an addition-\\nal beauty. Thus, in the simile in the be-\\nginning of the 3d book, there is one cir-\\ncumstance which offends against good taste.\\nEur bgeo? zogv(pjj r$ Nor\u00c2\u00a9\u00c2\u00a3 zccnytv^v tofjufflriv,\\nTloif/Aariv vt) piXf)v, zKznrri i\\\\ rs vOxrbg ctfASivd,\\nToWov rtg r iicihiv(F(rih QO ov r %m kccav ifjffjv*\\nSis agu twvtto Trotrtr) zwi r ruXog wgvvr oLtXXtjg\\nm t fi A\\nAs when the south wind pours a thick\\ncloud upon the tops of the mountains,\\nwhose shade is unpleasant to the shep-\\nherds, but ipore^commodious to the thief\\nu than the night itself, and when the gloom\\nfii i aiiol", "height": "3932", "width": "2560", "jp2-path": "essayonprinciple00wood_0108.jp2"}, "109": {"fulltext": "\u00c2\u00a3HAP. IV* TRANSLATION. 89\\nu is so intense, that one cannot see farther\\nthan he can throw a stone So rose the\\ndust under the feet of the Greeks march-\\ning silently to battle.\\nWith what superior taste has the trans-\\nlator heightened this simile, and exchang-\\ned the offending circumstance for a beauty.\\nThe fault is in the third line tm-o-ov rig r\\nliri\\\\eu(r rei 9 c. which is a mean idea, com-\\npared with that which Mr Pope has substi-\\ntuted in its stead\\nThus from his shaggy wings when Eurus sheds\\nA night of vapours round the mountain-heads,\\nc Swift gliding mists the dusky fields invade,\\nTo thieves more grateful than the midnight shade;\\nWhile scarce the swains their feeding flocks survey,\\nLost and confus d amidst the thicken d day\\nSo wrapt in gathering dust the Grecian train,\\nu A moving cloud, swept on and hid the plain.\\nIn the 9th book of the Iliad, v. 484.\\nwhere Phoenix reminds Achilles of the care\\nhe had taken of him while an infant, one\\ncircumstance extremely mean, and evert\\ndisgusting, is found in the original.", "height": "3916", "width": "2376", "jp2-path": "essayonprinciple00wood_0109.jp2"}, "110": {"fulltext": "90 PRINCIPLES OF CHAP. IT.\\nhrs iy\\\\ tst lp,o7 riv lyca ysvccco i %a,0iff(ra,s\\nWhen I placed you on my knees, I filled\\nyou full with meat minced down, and\\ngave you wine, which you often vomited\\nc upon my bosom, and stained my clothes,\\nin your troublesome infancy. The\\nEnglish reader certainly feels an obliga-\\ntion to the translator for sinking altogether\\nthis nauseous image, which, instead of heigh-\\ntening the picture, greatly debases it\\nThy infant breast a like affection show d,\\nStill in my arms, an ever pleasing load\\nOr at my knee, by Phoenix would st thou stand,\\nNo food was grateful but from Phoenix hand\\nI pass my watchings o er thy helpless years,\\nThe tender labours, the compliant cares\\nPope.\\nA similar instance of good taste occurs in the following\\ntranslation of an epigram of Martial* where the indelicacy of", "height": "3924", "width": "2492", "jp2-path": "essayonprinciple00wood_0110.jp2"}, "111": {"fulltext": "CHAP. IV. TRANSLATION. 91\\nBut even the highest beauties of the ori-\\nginal receive additional lustre from this ad-\\nmirable translator.\\nthe original is admirably corrected, and the sense at the same\\ntime is perfectly preserved\\nVis fieri liber mentiris, Maxime, non vis\\nSedjieri si vis, hac rat wne potes.\\nLiber eris, coenareforis, si, Maxime, nolit\\nVeientana tuam si domat uva sitim\\nSi rider e potes miseri Chrysendcta Chinos\\nContent us nostra si potes esse toga.\\nSi plebeia Venus gemino tibi vincitur asse:\\nSi tua non rectus tecta subire potes\\nHcec tibi si vis est, si mentis tanta potestas,\\nLiberior Partho vivere rege potes.\\nMart. lib. 2. ep. 53.\\nNon, d etre libre, cher Paulin,\\nVous n avez jamais eu l envie\\nEntre nous, votre train de vie\\nN en est point du tout le chemin.\\nII vous faut grand ehere, bon vin,\\nGrand jeu, nombreuse campagnie,\\nMaitresse fringante et jolie,\\nEt robe du drap le plus fin.", "height": "3912", "width": "2308", "jp2-path": "essayonprinciple00wood_0111.jp2"}, "112": {"fulltext": "92 PRINCIPLES OF CHAP. IV.\\nA striking example of this kind has been\\nremarked by Mr Melmoth It is the\\ntranslation of thai picture in the end of the\\n8th book of the Iliad, which Eustathius\\nesteemed the finest night-piece that could\\nbe found in poetry\\n*\u00c2\u00a3lg y or \\\\v igoLvoo cicrga (pa ivYiv kptyt rs\\\\f)V)]v,\\nPuiver agiKgeirzot,, ors r tv hiro vr^zyuoc aiSyg,\\n*JLz. r ityotvov natron rxoKta,} seen irgeuopeg azgoi f\\nKa/ paxa/ zgavovev ocg vveppwyri atrnsrog ctiiJ7}g 9\\nTluvla hi r Stferou ocfga yiyr^i 3s rt (pgsvoc woiu /iv\\nAs when in the heavens the stars appear\\nc gracefully around the moon, when eve-\\nct ry breath of air is hush d when the high\\n44 watch-towers, the hills, and woods, are\\ndistinctly seen when the sky appears\\nII faudroit aimer, au contraire,\\nVin commun, petit ordinaire,\\nHabit simple, un ou deux amis\\nJamais de jeii, point d Amarante\\nVoyez si le parti vous tente,\\nLa liberte n est qu a ce prix.\\nFitzosborne s Letters, I. 19.", "height": "3928", "width": "2576", "jp2-path": "essayonprinciple00wood_0112.jp2"}, "113": {"fulltext": "CHAP. IV. TRANSLATION. 93\\nto op\u00c2\u00a3n to the sight, and every eon-\\nu stellation is visible, and when the shep-\\nherd s heart is delighted within him.\\nThis is beautiful, even in the most literal\\nprose; but how nobly is the picture raised\\nand improved by Mr Pope\\nAs when the moon, refulgent lamp of night,\\ne Oer heavns clear azure spreads her sacred light;\\nWhen not a breath disturbs the deep serene,\\nAnd not a cloud dercasts the solemn scene;\\nAround her throne the vivid planets roll,\\nAnd stars unnumber d gild the glowing pole\\nO er the dark trees a yellower verdure shed,\\nc And tip with silver every mountain s head:\\nThen shine the vales, the rocks in prospect rise^\\nA flood of glory bursts from all the skies:\\nce The conscious swains rejoicing in the sight,\\nEye the blue vaidt, and bless the useful light\\nThus likewise translated with great beauty of poetry,\\nend sufficient fidelity to the original.\\nUt lunam circa fulgent cum lucida pulchro\\nAstra choro, nusquam ccelo dum nubila, nusquam\\nAerios turbant ventorum flamina campos\\nApparent speculae, nemoroso et vertice montes", "height": "3916", "width": "2308", "jp2-path": "essayonprinciple00wood_0113.jp2"}, "114": {"fulltext": "94 PRINCIPLES OP CHAP. IV.\\nThese passages from Pope s Homer af-\\nford examples of a translator s improvement\\nof his original, by a happy amplification and\\nembellishment of his imagery, or by the ju-\\ndicious correction of defects but to fix the\\nprecise degree to which this amplification,\\nthis embellishment, and this liberty of cor-\\nrection, may extend, requires a great exer-\\ntion of judgment. It may be useful to re-\\nmark some instances of the want of this\\njudgment.\\nIt is always a fault when the translator\\nadds to the sentiment of the original au-\\nthor, what does not strictly accord with his\\ncharacteristic mode of thinking, or expres-\\nsing himself.\\nFrondiferi et saltus late se fulgidus gether\\nPandit in immensum, penitusque abstrusa remoto\\nSigna polo produnt longe sese omnia gaudet\\nVisa tuens, haeretque immoto lumine pastor.\\nWas Lat. vers, a Raym. Cimighio, Rom. 1 776.", "height": "3932", "width": "2548", "jp2-path": "essayonprinciple00wood_0114.jp2"}, "115": {"fulltext": "CHAP* IV* TRANSLATION. 95\\nPone sub curru nimium propinqui\\nSolis, in terra domibus negata\\nDulce ridentem Lalagen amabo,\\nDulce loquentem.\\nHob. Qd. 22, 1 I.\\nThus translated by Roscommon\\nThe burning zone, the frozen isles,\\nShall hear me sing of Celia s smiles\\nAll cold, but in her breast, I will despise,\\nAnd dare all heat, but that in Celia s eyes.\\nThe witty ideas in the two last lines are\\nforeign to the original and the addition of\\nthese is quite unjustifiable, as they belong\\nto a quaint species of wit, of which the wri-\\ntings of Horace afford no example.\\nEqually faulty, therefore, is Cowley s\\ntranslation of a passage in the Ode to-\\nPyrrha\\nQui semper vacuam, semper amabilem\\nSperat, nescius aurae fallacis.\\nHe sees thee gentle, fair, and gay,\\nAnd trusts the faithless April of thy May.", "height": "3932", "width": "2360", "jp2-path": "essayonprinciple00wood_0115.jp2"}, "116": {"fulltext": "96 PRINCIPLES OF CHAP. IV.\\nAs is the same author s version of that\\npassage, which is characterised by its beau-\\ntiful simplicity\\nsomnus agrestium\\nLenis virorum non humiles domos\\nFastidit, umbrosamque ripam\\nNon zephyris agitata Tempe.\\nHon. 3. I*\\nSleep is a god, too proud to wait on palaces,\\nAnd yet so humble too, as not to scorn\\nThe meanest country eottages\\nThis poppy grows among the corn.\\nThe halcyon Sleep will never build his nest\\nIn any stormy breast\\n*Tis not enough that he does find\\nClouds and darkness in their mind\\nDarkness but half his work will do,\\n*Tis not enough he must find quiet too.\\nHere is a profusion of wit, and poetic\\nimagery but the whole is quite opposite to\\nthe character of the original.\\nCongreve is guilty of a similar impro-\\npriety in translating.", "height": "3932", "width": "2548", "jp2-path": "essayonprinciple00wood_0116.jp2"}, "117": {"fulltext": "CHAP. IV. TRANSLATION. 9t\\nVides, ut alta stet nive candidurri\\nSoracte nee jam sustineant onus\\nSylvae laborantes*\\nHor. i. 9*\\nBless me, tis cold how chill the air\\nHow naked does the world appear\\nBehold the mountain tops around,\\nAs if with fur of ermine crown d\\nAnd lo how by degrees,\\nThe universal mantle hides the trees,\\nIn hoary flakes which downward fly,\\nAs if it were the autumn of the sky,\\nWhose fall of leaf would theirs supply\\nTrembling, the groves sustain the weight, and bow\\nLike aged limbs which feebly go,\\nBeneath a venerable head of snow.\\nNo author of real genius is more censur-\\nable on this score than Dryden.\\nObsidere alii telis angusta viarum\\nOppositi stat ferri acies mucrone coruscO\\nStricta parata neci.\\nJEnei$,u. S22s\\nThus translated by Dryden\\na", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0117.jp2"}, "118": {"fulltext": "98\\nPRINCIPLES OF\\nCHAP. IV.\\nTo several posts their parties they divide,\\nSome block the narrow streets, some scour the wide\\nThe bold they kill, th unwary they surprise,;\\nWho fights finds death, and death finds him who flies.\\nOf these four lines, there are scarcely\\nmore than four words which are warranted\\nby the original. Some block the narrow\\nstreets. Even this is a faulty transla-\\ntion of Obsklere alii telis angusta viarurn\\nbut it fails on the score of mutilation, not\\nredundancy. The rest of the ideas which\\ncompose these four lines, are the original\\nproperty of the translator and the antithe-\\ntical witticism in the concluding line, is\\nfar beneath the chaste simplicity of Vir-\\ngil.\\nThe same author, Virgil, in describing a\\npestilential disorder among the cattle, gives\\nthe following beautiful picture, which, as\\nan ingenious writer justly remarks has\\nevery excellence that can belong to descrip-\\ntive poetry\\nDr Beattie s Dissertation on Poetry and Music, p. 357.-\\n4to. edit.", "height": "3956", "width": "2572", "jp2-path": "essayonprinciple00wood_0118.jp2"}, "119": {"fulltext": "GHAP. IV. TRANSLATION. 99\\nEcce autem duro fumans sub vomere taums\\nCqncidit, et mixtum spumis vomit ore cruorem,\\nExtremosque ciet gemitus. It tristis arator,\\nMoerentem abjungens fraterna morte juvencum,\\nAtque opere in medio defixa relinquit aratra.\\nWhich Mr Dryden thus translates\\nThe steer who to the yoke was bred to bow,\\n(Studious of tillage and the crooked plow),\\nFalls down and dies and dying, spews a flood\\nOf foamy madness, mix d with clotted blood.\\nThe clown, who, cursing Providence, repines,\\nHis mournful fellow from the team disjoins\\nWith many a groan forsakes his fruitless care,\\nAnd in the unfinish d furrow leaves the share,\\nI would appeal to the reader, says Dr\\nBeattie, whether, by debasing the charm-\\ning simplicity of It tristis arator with his\\nblasphemous paraphrase, Dryden has not\\ndestroyed the beauty of the passage. He\\nhas undoubtedly, even although the trans-\\nlation had been otherwise faultless. But it\\nis very far from being so. Duro fumans sab\\nvomere, is not translated at all, and another\\nidea is put in its place. Extremosque ciet\\nq2", "height": "3920", "width": "2364", "jp2-path": "essayonprinciple00wood_0119.jp2"}, "120": {"fulltext": "100\\nPRINCIPLES OF\\nCHAP. IV.\\ngemitus, a most striking part of the descrip-\\ntion, is likewise entirely omitted. Spews\\na flood, is vulgar and nauseous and a\\nflood of foamy madness is nonsense. In\\nshort, the whole passage in the translation\\nis a mass of error and impropriety\\nu\\nu\\nThe simple expression, Jam Procyonfurit,\\nin Horace, 3. 29. is thus translated by the\\nsame author\\nThe Syrian star\\nBarks from afar,\\nAnd with his sultry breath infects the sky^\\nA late translator of the Georgics thus renders the pas-\\nsage with equal fidelity and good taste\\nAt once the bullock falls beneath the yoke,\\nBlood and mixt foam beneath his nostrils smoke\\nHe groans his last the melancholy swain\\nLeaves the fixt plough amid th unfurrow d plain,\\nAnd frees the lonely steer, whose mournful eye\\nBeholds with fond regret a brother die.\\nThe Georgics of Virgil transL by W. Sotheby.", "height": "3964", "width": "2560", "jp2-path": "essayonprinciple00wood_0120.jp2"}, "121": {"fulltext": "CHAP. IV. TRANSLATION. 101\\nThis barking of a star is a bad specimen\\nof the music of the spheres. Dry den, from\\nthe fervour of his imagination, and the ra-\\npidity with which he composed, is frequent-\\nly guilty of similar impropriety in his meta-\\nphorical language. Thus, in his version of\\nDu Fresnoy, de Arte Grapkica, he trans-\\nlates\\nIndolis ut vigor inde potens obstrictus hebescatj\\nNeither would I extinguish the fire of a\\nvein which is lively and abundant.\\nThe following passage in the second\\nGeorgic, as translated by Delille, is an ex-\\nample of vitious taste\\nAc, dum prima novis adolescit frondibus aetas,\\nParcendum teneris et dum se laetus ad auras\\nPalmes agit, laxis per purum immissus habenis,\\nIpsa acies nondum falce tentanda.\u00e2\u0080\u0094\\nQuand ses premiers bourgeons s empresseront declore*\\nQue lacier rigoureux n y touche point encore\\nMeme lorsque dans 1 air, qu il commence a braver,\\nLe rejetton moins frele ose enfin s elever\\nJPardonne a son audace en faveur de son age.\u00e2\u0080\u0094\\ng3", "height": "3924", "width": "2360", "jp2-path": "essayonprinciple00wood_0121.jp2"}, "122": {"fulltext": "102\\nPRINCIPLES OP\\nCHAP, rv\\nThe expression of the original is bold\\nand figurative, Icetus ad auras, laxis per\\npur urn immissus habenis but there is no-\\nthing that offends the chastest taste. The\\nconcluding line of the translation is dis-\\ngustingly finical,\\nVardonne a son audace enfaveur de son age.\\nMr Pope s translation of the following\\npassage of the Iliad, is censurable on a si-\\nmilar account\\nAaoi {JAv (pdivvSaci vregi ftrohiv, clIttv tb rei%og 9\\nmccgvctf/j vor\\nIliad, 6. 327-\\nFor thee great Ilion s guardian heroes fall,\\nTill heaps of dead alone defend the wall.\\nOf this conceit, of dead men defending\\nthe walls of Troy, Mr Pope has the sole\\nmerit. The original, with grave simplicity,\\ndeclares, that the people fell, fighting before\\nthe town, and around the walls\\nFitzosborne s Letters, 43.", "height": "3932", "width": "2500", "jp2-path": "essayonprinciple00wood_0122.jp2"}, "123": {"fulltext": "CHAP. IV, TRANSLATION. 108\\nIn the translation of the two following\\nlines from Ovid s Epistle of Sappho to\\nPhaon, the same author has added a witti-\\ncism, which is less reprehensible, because it\\naccords with the usual manner of the poet\\nwhom he translates yet it cannot be term-\\ned an improvement of the original\\nScribimus, et lachrymis oculi rorantur aborti:^\\nAspice, quam sit in hoc multa litura loco.\\nSee, while I write, my words are lost in tears,\\nThe less my sense, the more my love appears.\\nPope.\\nThe favourite English anacreontic Bu-\\ns?/, curious, thirsty FhjT is thus translated\\nin the Carmina QuadragesimaUo, vol. ii. a\\ncollection which contains some pieces of\\nhigh merit.\\nPicta auro, et nitidis variata coloribus alas,\\nMusca, veni nostris hospes arnica scyphis.\\nHospes eris, madidae seu te moderatior uvae\\nHaustus, seii recreet plenior, hospes eris.\\nIndulge geniali horae, facilique Lyaeo,\\nDum s^evum Lachesis tarda moratur opus.\\n\u00c2\u00a94", "height": "3928", "width": "2364", "jp2-path": "essayonprinciple00wood_0123.jp2"}, "124": {"fulltext": "104\\nPRINCIPLES OF\\nCHAP. IV.\\nNam tua, devolvi prseceps, brevis interit aetas,\\nEt nostra est parili prsecipitata fuga.\\nNon tamen est sortem cur indignemur iniquam,\\nVirgilius periit, Virgiliique culex\\nIn this version, which is not without me-\\nrit, the superadded illustration in the last\\nline, flowing naturally from the sentiment of\\nthe original, is no more than what is al-\\nlowable in poetical translation but I doubt\\nif it is an improvement. Sure I am, at\\nleast, that Dum scevum Lachesis tarda mo-\\nratur opus, though likewise consonant to the\\nsentiment of the original, has no propriety\\nBusy, curious, thirsty fly,\\nDrink with me, and drink as I\\nFreely welcome to my cup,\\nCouldst thou sip, and sip it up\\nMake the most of life you may\\nLife is short, and wears away\\nBoth alike, both thine and mine,\\nHasten quick to their decline\\nThine s a summer, mine s no more,\\nThough repeated to threescore\\nThreescore summers, when they re gone\\nWill appear as short, as one.", "height": "3928", "width": "2552", "jp2-path": "essayonprinciple00wood_0124.jp2"}, "125": {"fulltext": "CHAP. IV. TRANSLATION. 105\\nwhen applied to the short life of a fly. In\\nthe version of the same anacreontic by\\nVincent Bourne, the translator, with better\\ntaste, has adhered to the chastened simpli-\\ncity of the original, without any attempt at\\nembellishment\\nPotare., musca, de meo aut quovis scypho,\\nVocata, non vocata, praesens advena\\nLubens, libensque curiosam exple sitim,\\nSiccare totum, si valebis poculum\\niEvi fugacis punctulum carpe, arripe\\nJEvi, quod interire pergit indies.\\nUtriusque vita properat, et tua et mea^\\nAd exitum cursu incitato vergere\\nJEstas tuae, nee amplius spatium est mea?^\\nAd bis tricenas usque si redit vices\\nCum praeteribit bis tricena, sicuti\\nUnius aestatis videbitur fuga.\\nBut if authors, even of taste and genius,\\nbe found at times to have made an injudi-\\ncious use of that liberty which is allowed\\nin the translation of poetry, we must expect\\nto see it miserably abused indeed, where\\nthose talents are evidently wanting. The\\nfollowing specimen of a Latin version of\\nthe Paradise Lo$t y is an example of every", "height": "3928", "width": "2364", "jp2-path": "essayonprinciple00wood_0125.jp2"}, "126": {"fulltext": "106 PRINCIPLES OF CHAP. IV.\\nthing that is vitioiis and offensive in poeti-\\ncal translation.\\nPrimaevi ca.no furta patris, furtumque secutae\\nTristiafata necis, labes ubi prima notavit\\nQuotquot Adamaeo genitos de sanguine vidit\\nPhoebus ad Hesperias ab Eoo cardine met as\\nQuos procul auricomis Paradisi depulit hortis.\\nDira cupido attavura, raptique injuria pomi\\nTerrigena donee meliorque et major Adamus\\nAmissis meliora bonis, majora reduxit.\\nQuosque dedit morti lignum inviolabile, mortis\\nUnicus ille alio rapuit de limine ligno.\\nTerrenusque licet pereat Paradisus, at ejus\\nMunere laxa patet Paradisi porta superni\\nHaec oestro stimulata novo mens pandere gestit.\\nQuis mihi monstret iter Quis carbasa nostra profundo\\nDirigat in dubio\\nGul. Hog.ei Paradisus Amissus, I. L\\nHow completely is Milton disguised in\\nthis translation His majesty exchanged\\nfor meanness, and his simplicity for bom-\\nbast\\nIt is amusing to observe the conceit of this author, and\\nthe compliment he imagines he pays to the taste of his pa-\\ntron in applauding this miserable composition Adeo tibi", "height": "3932", "width": "2588", "jp2-path": "essayonprinciple00wood_0126.jp2"}, "127": {"fulltext": "CHAP. IV. TRANSLATION. 107\\nThe preceding observations, though they\\nprincipally regard the first general rule of\\ntranslation, viz. that which enjoins a com-\\nplete transfusion of the ideas and senti-\\nments of the original work, have likewise a\\nnear connection with the second general\\nrule, which I shall now proceed to consider.\\nplacuit, lit quaedam etiam in melius mutasse tibi visus fue*\\nrim. With similar arrogance and absurdity, he gives Milton\\ncredit for the materials only of the poem., assuming to him-\\n-self the whole merit of its structure Miltonus Paradisum\\nAmissum invenerat; ergo Miltoni hie lana estj at mea\\ntela tamen/ J", "height": "3920", "width": "2364", "jp2-path": "essayonprinciple00wood_0127.jp2"}, "128": {"fulltext": "", "height": "3952", "width": "2512", "jp2-path": "essayonprinciple00wood_0128.jp2"}, "129": {"fulltext": "CHAP. V. TRANSLATION. 109\\nCHAR V.\\nSecond General Rule The Style and Man*\\nner of writing in a Translation should be\\nof the same Character with that of the Ori-\\nginaL \u00e2\u0080\u00a2Translations of the Scriptures\\nOf Homer, c. A just Taste requisite\\nfor the Discernment of the Characters of\\nStyle and Manner. Examples of failure\\nin this particular The grave exchanged\\nfor the formal The elevated for the bom-\\nbast The lively for the petulant The\\nsimple for the childish. Hobbes, L J Es-\\ntrange, Echard, c.\\nNext in importance to a faithful transfu-\\nsion of the sense and meaning of an author,\\nis an assimilation of the style and manner\\nof writing in the translation to that of the\\noriginal. This requisite of a good transla-", "height": "3924", "width": "2376", "jp2-path": "essayonprinciple00wood_0129.jp2"}, "130": {"fulltext": "110 PRINCIPLES OF CHAP. V.\\ntion, though but secondary in importance,\\nis more difficult to be attained than the for-\\nmer for the qualities requisite for justly\\ndiscerning and happily imitating the various\\ncharacters of style and manner, are much\\nmore rare than the ability of simply under-\\nstanding an author s sense. A good trans-\\nlator must be able to discover at once the\\ntrue character of his author s style. He must\\nascertain with precision to what class it be-\\nlongs whether to that of the grave, the\\nelevated, the easy, the lively, the florid and\\nornamented, or the simple and unaffected\\nand these characteristic qualities he must\\nhave the capacity of rendering equally con-\\nspicuous in the translation as in the origi-\\nnal. If a translator fail in this discern-\\nment, and want this capacity, let him be\\never so thoroughly master of the sense of\\nhis author, he will present him through a\\ndistorting medium, or exhibit him often in\\na garb that is unsuitable to his character.\\nThe chief characteristic of the historical\\nstyle of the Sacred Scriptures, is its simpli-\\ncity. This character belongs indeed to the", "height": "3932", "width": "2572", "jp2-path": "essayonprinciple00wood_0130.jp2"}, "131": {"fulltext": "CHAP. V.\\nTRANSLATION. Ill\\nlanguage itself. Dr Campbell has justly re-\\nmarked, that the Hebrew is a simple tongue;\\nthat their verbs have not, like the\\nGreek and Latin, a variety of moods and\\ntenses, nor do they, like the modern lan-\\ng ua g es 5 abound in auxiliaries and con-\\nu junctions. The consequence is, that in\\nnarrative, they express by several simple\\nsentences, much in the way of the re-\\nlations used in conversation, what in\\nmost other languages would be compre-\\na hended in one complex sentence of three\\nor four members The same author\\ngives, as an example of this simplicity, the\\nbeginning of the first chapter of Gene-\\nsis, where the account of the operations\\nof the Creator on the first day is contained\\nin eleven separate sentences. 1. In the\\nbeginning God created the Heaven and\\nthe Earth. 2. And the earth was without\\nform, and void. 3. And darkness was\\nupon the face of the deep. 4. And the\\nspirit of God moved upon the face of the\\nwaters. 5. And God said, let there be\\nThird Preliminary Dissertation to a New Translation of\\nthe Four Gospels.", "height": "3932", "width": "2300", "jp2-path": "essayonprinciple00wood_0131.jp2"}, "132": {"fulltext": "112 PRINCIPLES OF CHAP. V.\\nlight. 6. And there was light. 7. And\\nGod saw the light, that it was good. 8*\\nAnd God divided the light from the\\ndarkness. 9. And God called the light\\nday. 10. And the darkness he called\\nnight. 11. And the evening and the\\nmorning were the first day. This,\\nsays Dr Campbell, is a just representa-\\ntion of the style of the original. A more\\nperfect example of simplicity of struc-\\nture, we can no where find. The sen-\\ntences are simple, the substantives are not\\nattended by adjectives, nor the verbs by\\nadverbs no synonymas, no superlatives,\\nno effort at expressing things in a bold,\\nemphatical, or uncommon manner*\\nCastalio s version of the Scriptures is\\nentitled to the praise of elegant Latinity,\\nand he is in general faithful to the sense of\\nhis original but he has totally departed\\nfrom its style and manner, by substituting\\nthe complex and florid composition to the\\nsimple and unadorned. His sentences are\\nformed in long and intricate periods, in\\nwhich many separate members are artfully", "height": "3952", "width": "2592", "jp2-path": "essayonprinciple00wood_0132.jp2"}, "133": {"fulltext": "CHAP. V. TRANSLATION. 113\\ncombined and we observe a constant en-\\ndeavour at a classical phraseology and or-\\nnamented diction In Castalio s ver-\\nsion of the foregoing passage of Genesis^\\nnine sentences of the original are thrown\\ninto one period. 1. Principio creavit Deus\\nccelum et terrain* Quum autem csset ter-\\nra iners at que rudis, tenebrisque effusum\\nprofundum, et divinus spiritus sese super a-\\nquas libraret) jussit Deus ut exist eret lux,\\net extitit lux qtiaiii quum videret Deus\\nesse bonam, lueem secrevit a tenebris, et lu-\\ncent diem, et tenebras noctem appellaviti\\n3. ltd extitit ex vcspere et mane dies primuSi\\nH\\nHis affectation of the manner of some of the poets\\nand orators has metamorphosed the authors he interpreted,\\n*l and stript them of the venerable signatures of antiquity,\\nic which so admirably befit them and which, serving as in-\\ntrinsic evidence of their authenticity, recommend their 1\\ntc writings to the serious and judicious. Whereas, when ac-\\nie coutred in this new fashion, no body would imagine them\\nto have been Hebrews and yet (as some critics have justly\\nu remarked), it has not been within the compass of Castalio s\\nu art, to make them look like Romans. Dr Campbell^\\ntOth Prelim. Diss.", "height": "3932", "width": "2316", "jp2-path": "essayonprinciple00wood_0133.jp2"}, "134": {"fulltext": "114 PRINCIPLES OF CHAP. V.\\nDr Beattie has justly remarked, that the\\ntranslation of the Old Testament by Cas-\\ntalio does great honour to that author s\\nlearning, but not to his taste. u The quaint-\\nness of his Latin betrays a deplorable in-\\nu attention to the simple majesty of his\\noriginal. In the Song of Solomon, he\\nhas debased the magnificence of the lan-\\nguage and subject by diminutive f$ which,\\nthough expressive of familiar endearment,\\nhe should have known to be destitute of\\ndignity, and therefore improper on so-\\nlemn occasions. Mea Columbula, os-\\ntende mihi tuurn vulticulum fac nt au-\\ndiam tuarn voculam nam et voculam ve-\\nnustulam, et vulticulum habes lepidulum,\\n11 Vent in meos hortulos, sororcula mea spon-\\nsa. Ego dormioi vigilante meo corcu-\\nlo c.\\nThe version of the Scriptures by Arias\\nMontanus, is in some respects a contrast to\\nthat of Castalio. Arias, by adopting the li-\\nEssay on, Laughter and Ludicrous Composition.", "height": "3948", "width": "2564", "jp2-path": "essayonprinciple00wood_0134.jp2"}, "135": {"fulltext": "CHAP. V. TRANSLATION. 115\\nteral mode of translation, probably intend-\\ned to give as faithful a picture as he could,\\nboth of the sense and manner of the ori-\\nginal. Not considering the different genius\\nof the Hebrew, the Greek, and the Latin,\\nin the various meaning and import of words\\nof the same primary sense the difference\\nof combination and construction, and the\\npeculiarity of idioms belonging to each\\ntongue he has treated the three languages\\nas if they corresponded perfectly in all those\\nparticulars and the consequence is, he has\\nproduced a composition which fails in every\\none requisite of a good translation it con-\\nveys neither the sense of the original, nor\\nits manner and style and it abounds in\\nbarbarisms, solecisms, and grammatical in-\\naccuracy In Latin, two negatives make\\nan affirmative but it is otherwise in Greek,\\nthey only give force to the negation f %u%i\u00c2\u00a7\\nh2\\nDr Campbell, 10th Prel. Diss, part 2.\\nt The Greek language even admits of three negatives, with\\nsimilar effect in strengthening the negation,, as Qvdag a*\u00c2\u00abvf*\\n4vah ovJwec.", "height": "3932", "width": "2300", "jp2-path": "essayonprinciple00wood_0135.jp2"}, "136": {"fulltext": "116\\nPRINCIPLES OF\\nCHAP. V.\\nIfjcn ov hwuefa iroteiv vfev, as translated by Arias,\\nsine me non potestis facer e nihil, is therefore\\ndirectly contrary to the sense of the original\\nAnd surely that translator cannot be said\\neither to do justice to the manner and style\\nof his author, or to write with the ease of\\noriginal composition, who, instead of per-\\nspicuous thought, expressed in pure, correct,\\nand easy phraseology, gives us obscure and\\nunintelligible sentiments, conveyed in bar^\\nbarous terms and constructions, irreconcile-\\nable to the rules of the language in which\\nhe uses them. Et nunc dixi vobis antejieri y\\nut quum factum fuerit credatis. *Ascendit\\nautem et Joseph a Galilcea in civitatem Da-\\nvid, propter esse ipsum ex domo et familia\\nDavid, describi cum Maria desponsata sibi\\nuxore, existente prcegriante* Factum autem\\nin esse eos ibi f impleti sunt dies par ere ip-\\nsam. Venerunt ad portam, qua spontanea\\naperta est eis, et exeunt es processerunt vicum.\\nNunquid aquam prohibere potest quis ad\\nnon baptizare hos Sped at descendens su-\\nper se vas quoddam linteum f quatuor initiis", "height": "3952", "width": "2584", "jp2-path": "essayonprinciple00wood_0136.jp2"}, "137": {"fulltext": "CHAP. IV. TRANSLATION. 117\\nvinctum, Aperiens autem Petrns os, dixit\\nIn xeritate deprehendo quia non est persona-*\\nrum acceptor Deus\\nThe characteristic of the language of Ho-\\nmer is strength united with simplicity. He\\nemploys frequent images, allusions, and si-\\nmiles but he very rarely uses metaphorical\\nexpression. The use of this style, there-\\nfore, in a translation of Homer, is an offence\\nagainst the character of the original. Mr\\nPope, though not often, is sometimes char-\\nh3\\nThe language of that ludicrous work, Epistolce obscuro-\\nrum virorum, is an imitation, and by no means an exaggera^\\nted picture of the style of Arias Montanuss version of the\\nScriptures. Vos bene audivistis qualiter Papa habuit unum\\nmagnum animal quod vocatumfuit Elephas et habuit ipsum\\nin magno konorc, et valde amavit Mud. Nunc igitur debetis\\nscire, quod tale animal est mortuum. Et quandofuit irifir*\\nmum, tunc Papa fuit in magna tristitia, et vocavit medicos\\nplureSy et dixit eis Si est possibile, satiate mihi Elephas*\\nTunc fecerunt magnam diligentiam, et viderunl ei urinam, et\\ndederunt ei unam purgationem quae constat quinque centum\\naureos, sed tameti non potuerunt Elephas facere merdare 3 et\\nsic est mortuum et Papa dolet multum super Elephas quia\\nfuit mirabile animal, habens longum rostrum in magna quart*\\ntilate. Ast ego non curabo ista mundana negotia t quae afft*\\nTur\\\\t perditiqnem (mimce* Valete*", "height": "3932", "width": "2300", "jp2-path": "essayonprinciple00wood_0137.jp2"}, "138": {"fulltext": "118 PRINCIPLES OF CHAP. V.\\ngeable with this fault as where he terms the\\narrows of Apollo the feather d fates, Iliad,\\n1. 68., a quiver of arrows, a store of\\nu flying fates, Odyssey, 22. 136: or instead\\nof saying, that the soil is fertile in corn, u in\\nwavy gold the summer vales are dress d,\\nOdyssey, 19. 131 the soldier wept, from\\nhis ey\u00c2\u00a3s pour d down the tender dew.\\nIbid. 11. 486.\\nVirgil, in describing the shipwreck of\\nthe Trojans, says,\\nApparent rari nanies in gurgite vasto\\nWhich the Abbe des Fontaines thus trans-\\nlates A peine un petit nombre de ceux qui\\nmontoient le vaisseau purent se sauver a\\nu la nage.^ Of this translation Voltaire\\njustly remarks, C est traduire Virgile\\nu en style de gazette. Ou est ce vaste\\nIt is well known, that the greater part of the Odyssey\\nWas not translated by Pope himself, but by some assistants,\\nwhom he employed and paid for their labours but having\\nrevised the whole, and published the work under his own\\nBame, he is justly responsible for all its faults.", "height": "3956", "width": "2580", "jp2-path": "essayonprinciple00wood_0138.jp2"}, "139": {"fulltext": "CHAP. V. TRANSLATION. 119\\ngouffre que peint le po6te, gurgite vasto\\nOh est V apparent rati nantesP Ce n est\\npas ainsi qu on doit traduire l Eneide.\\nVoltaire, Quest, sur VEncyclop. mot Ampli-\\nfication*\\nIf we are thus justly offended at hearing\\nVirgil speak in the style of the Evening Post\\nor the Daily Advertiser, what must we\\nthink of the translator, who makes the so-\\nlemn and sententious Tacitus express him-\\nself in the low cant of the streets, or in the\\ndialect of the waiters of a tavern\\nFacile Asiniwn et Messalam inter Anto-\\nnium et Augustum belhrum prcemiis refertos\\nThus translated in a version of Tacitus by\\nMr Dryden and several eminent hands\\nAsinius and Messala, who feathered their\\nu nests well in the civil wars twixt Antho-\\nny and Augustus/ Vinolentiam et libi-\\ndines usurpans u Playing the good-fellow.\\nFrustra Arminium prmcribi Trumping\\nu up Arminius s title. Sed Agrippina\\nbertam cemulam, nurum ncillam, ali que eun-\\ndem in modum muliebri.er fremere But\\nh4", "height": "3924", "width": "2380", "jp2-path": "essayonprinciple00wood_0139.jp2"}, "140": {"fulltext": "120 PRINCIPLES OF CHAP. V.\\nAgrippina could not bear that a freed-\\nwoman should nose her. And another\\ntranslator says, But Agrippina could not\\nbear that a freedwoman should beard her.\\nOf a similar character with this translation\\nof Tacitus is a translation of Suetonius by\\nseveral gentlemen of Oxford which a-\\nbounds with such elegancies as the follow-\\ning Sestio Gallo, libidinoso et prodigo sent\\nSestius Gallus, a most notorious old Sir\\nc Jolly. J ucundissimos et omnium horarum\\namicos His boon companions and sure\\ncards. Nullam unquam occasion em de-\\ndit They never could pick the least hole\\nin his coat. So likewise in a translation\\nof Livy, Samnites pro aris et focis pitgna-\\nbant The Samnites fought for church and\\nchimney, as the saying is. And with\\nequal elegance, Quidam Lncanorum pretio\\nascitic clari magis quam honesti, quum cor-\\npora nuda infolisseni, c The Lucani-\\nans, a parcel of rapscallions, ran away in\\nquerpo.\\nLondon, l6$L", "height": "3952", "width": "2580", "jp2-path": "essayonprinciple00wood_0140.jp2"}, "141": {"fulltext": "CHAP. V. TRANSLATION. 121\\nJuno s apostrophe to Troy, in her speech\\nto the Gods in council, is thus translated in\\na version of Horace by The Most Emi-\\nnent hands.\\n\u00e2\u0080\u00a2Ilion, Ilion,\\nFatalis incestusqiie judex, S?c.\\nHon. 3. 3,\\nO Ilion, Ilipn, I with transport view\\nThe fall of all thy wicked, perjur d crew\\nPallas and I have borne a rdnJtUhs grudge\\nTo that curst Shepherd, that incestuous judge.\\nIn the following passage of Juvenal s tenth\\nSatire, the striking moral of the thought is\\nmost happily aided by the language in\\nwhich it is clothed\\nnulla aconita bibuntur\\nFictilibus tunc ilia times, quum pocula sumes\\nGemmata, et lato Setinum ardebit in auro.\\nBut how miserably is the sentiment deba-*\\nsed by the expression in a modern transla-\\ntion", "height": "3928", "width": "2376", "jp2-path": "essayonprinciple00wood_0141.jp2"}, "142": {"fulltext": "122 PRINCIPLES OF CHAP. V.\\n-yet no poisonous drug\\nWas ever swallow d from an earthen mug\\nWhen rich wine sparkles in the bowl superb,\\nWith gold and gems, then fear the deadly herb.\\nOwen s Juvenal.\\nThe description of the majesty of Jupiter,\\ncontained in the following passage of the\\nfirst book of the Iliad, is allowed to be a\\ntrue specimen of the sublime. It is the\\narchetype from which Phidias acknowledged\\nhe had framed his divine sculpture of the\\nOlympian Jupiter\\n9 Afbfig6 ria,i 3 cLgci yjuru.1 lirepputroivro avoixrog,\\nKgoirog h* ccduvaroio, t/Ayuv J sAsX/f sj OXvpirov\\nHe spoke, and awful bends his sable brows,\\nShakes his ambrosial curls, and gives the nod,\\nThe stamp of fate, and sanction of the God\\nHigh heav n, with trembling, the dread signal took,\\nAnd all Olympus to its centre shook.\\nPope.\\nCertainly Mr Hobbes of Malmsbury\\nperceived no portion of that sublime which", "height": "3932", "width": "2584", "jp2-path": "essayonprinciple00wood_0142.jp2"}, "143": {"fulltext": "CHAP. V. TRANSLATION. 123\\nwas felt by Phidias and by Pope, when he\\ncould thus translate this fine description\\nThis said, with his black brows he to her nodded,,\\nWherewith displayed were his locks divine\\nOlympus shook at stirring of his godhead,\\nAnd Thetis from it jump d into the brine.\\nIn the translation of the Georgics, Mr\\nDryden has displayed great powers of\\npoetry. But Dryden had little relish for\\nthe pathetic, and no comprehension of the\\nnatural language of the heart. The beauti-\\nful simplicity of the following passage has\\nentirely escaped his observation, and he\\nhas been utterly insensible to its tender-\\nness\\nIpse cavd solans ozgrum iestudine amorem,\\nTe, dulcis conjux, te solo in littore secum,\\nTe veniente die, te decedente canebat.\\nVirg. Geor. 4\\nTh* unhappy husband, husband now no more,\\nDid on his tuneful harp his loss deplore,\\nAnd sought his mournful mind with music to restore\\n.1", "height": "3920", "width": "2368", "jp2-path": "essayonprinciple00wood_0143.jp2"}, "144": {"fulltext": "124 PRINCIPLES OF CHAP. V.\\nOn thee, dear Wife, in deserts all alone,\\nHe call d, sigh d, sung his griefs with day begun,\\nNor were they finished with the setting sun.\\n5\\nThe three verbs, calVd sigjfd, sung, are\\nhere substituted, with peculiar infelicity,\\nfor the repetition of the pronoun a change\\nwhich converts the pathetic into the ludi-\\ncrous.\\nIn the same episode, the poet compares\\nthe complaint of Orpheus to the wailing of\\na nightingale, robb d of her young, in those\\nwell known beautiful verses\\nQuails populea mcerens Philomela sub umbra\\nAmissos qveritur foetus, quos durus arator\\nObservans nido implumes, detraxit at ilia\\nFlet noctem, ramoque sedens miserabile carmen\\nfntegrat, et mcestis late loca questibus implet.\\nThus translated by Dry den\\nSo, close in poplar shades, her children gone,\\nThe mother nightingale laments alone\\nWhose nest some prying churl had found, and thence\\nBy stealth, convey d the feather d innocence j", "height": "3932", "width": "2612", "jp2-path": "essayonprinciple00wood_0144.jp2"}, "145": {"fulltext": "CHAP. V. TRANSLATION. 125\\nBut she supplies the night with mournful strains^\\nAnd melancholy music fills the plains.\\nHow poor is this translation when com-\\npared with its original yet, on the whole,\\nless censurable than the following version by\\na French poet of high reputation\\nTelle sur im rameau durant la nuit obscure\\nPhilomele plaintive attendrit la nature,\\nAccuse en gemissant l oiseleur inhumain,\\nQui, glissant dans son nid line furtive main;\\nRavit ces tendres fruits que l amour fit ecldrre,\\nEt qu un leger duvet ne couvroit pas encore.\\nDelille, Georg. de Virg.\\nIt is evident, that there is a complete\\nevaporation of the beauties of the original\\nin this translation and the reason is, that\\nthe French poet has substituted sentiments\\nfor facts, and refinement for the simple pa-\\nthetic. The nightingale of Delille melts all\\nnature with her complaint accuses with he?\\nsighs the inhuman fowler, who glides his\\nthievish hand into her nest, and plunders\\nthe tender fruits that were hatched by love\\nHow different this sentimental foppery from", "height": "3932", "width": "2312", "jp2-path": "essayonprinciple00wood_0145.jp2"}, "146": {"fulltext": "126 PRINCIPLES OF CHAP. V.\\nthe chaste simplicity of Virgil We per-\\nceive a similar vein of affected sentiment in\\nthe translation of the Paradise Lost by the\\nsame author\\nSo spake our general mother and with eyes\\nOf conjugal affection unreprov d\\nAnd meek surrender, half embracing, lean d\\nOn our first father half her swelling breast\\nNaked met his, under the flowing gold\\nOf her loose tresses hid; he in delight\\nBoth of her beauty and submissive charms,\\nSmil d with superior love.\\nSur Adam a ces mots, ctun air affectueux\\nEllejette un regard chaste et voluptueux,\\nTel quen permet V Hymen, tel qit amour en inspire\\nILe ciel qui la forma se peint dans son sourire.\\nLe cceuf sur son epoux doucement appuye,\\nSes bras respectueux Ventourent a moitie\\nEt voilani a demi ce sein qu il idolatre\\nSes cheveux d orjlottoient, sur sa gorge d albdtre,\\nAdam reste muet, il admire tout has\\nUn amour si soumis, de si chastes appas\\nEt ses yeux rasmrant la beaute qui I embrasse\\nPeigne?it la Majesti souriant a la grace.\\nParad. Perd. I. iv.", "height": "3952", "width": "2624", "jp2-path": "essayonprinciple00wood_0146.jp2"}, "147": {"fulltext": "CHAP. V. TRANSLATION. 127\\nIn the beautiful story of Pyramus and\\nThisbe, Ovid describes in a single couplet,\\nthe death of Pyramus, in terms of the most\\naffecting simplicity\\nAd nomen Thisbes, oculos jam morte gravatos\\nPyramus erexit, visaque recondidit ilia,\\nA French author of some reputation,\\nhas thus rendered the passage, accommoda-\\nting it to the taste of his age and country\\nC est Pyrame c est lui dormiroit-il, grands Dieux 1\\nPyrame a cette voix Pyrame ouvre les yeux\\nJe croyois qu aux enfers tu venois de descendre,\\nec Et que tu m attendais c est moi qui vais t attendre.\\nII dit. Son ceil couvert du voile de la moit,\\nCherche Thisbe dans l ombre, et la trouvant encor,\\nAvec un doux effort longtems fixe sur elie,\\nSe renferme et s eteint dans la nuit eternelle.\\nLettres a Emilk par Demqutier.\\nWe may affirm for certain, that the wri-\\nter who could depart thus widely from the\\ncharacter of his original, had not the smalL\\nest feeling of that beautiful simplicity which\\ncharacterizes it,", "height": "3924", "width": "2292", "jp2-path": "essayonprinciple00wood_0147.jp2"}, "148": {"fulltext": "128 PltlNCiPLES OF CHAP. V.\\nThe following passage in the 6th book\\nof the Iliad has not been happily translated\\nby Mr Pope. It is in the parting inter-\\nview between Hector and Andromache*\\nQg slvaffj c Xoy/oio pi\\\\r,g iv yj^friv iflqice\\nUuiO IW 7} y (Loci fJLiV KT,Culii M^CITO KGhTT l)\\nAuzgvozv yO^ci/TUfTcx, Frocig J Ixiqtri vor i o ctc,\\nHe spoke, and fondly gazing on her charms,\\nRestor d the pleasing burden to her arms\\nSoft on her fragrant breast the babe she laid,\\nHush d to repose, and with a smile survey d.\\nThe troubled pleasure soon chastis d by fear,\\nShe mingled with the smile a tender tear.\\nThe soften d chief with kind compassion view d,\\nAnd dried the falling drops, and thus pursu d.\\nThis, it must be allowed, is good poetry\\nbut it wants the affecting simplicity of the\\noriginal. Fondly gazing on her charms\\npleasing burden The troubled pleasure soon\\nchastised by fear, are injudicious embellish*\\nnients. The beautiful expression Auzgooe*", "height": "3948", "width": "2624", "jp2-path": "essayonprinciple00wood_0148.jp2"}, "149": {"fulltext": "CHAP. V. TRANSLATION* 129\\nysXa r x, ra is enfeebled by amplification and\\nthe fine circumstance, which so much heigh-\\ntens the tenderness of the picture, Xe/g* ri\\npiv zurege%ev, is forgotten altogether.\\nIn the same parting scene between Hec-\\ntor and Andromache, Pope has failed in\\nmany particulars\\nBook vi. 504.\\nSilent the warior smil d, and pleas d, resign d\\nTo tender passions all his mighty mind.\\nThis has nothing of the simplicity of the\\noriginal, and does not fully express the pic-\\nture given by Homer\\nHroi o psv f/Atiij rsv Urn \\\\g ircuia, trico^.\\nBook vi. 544.\\nYet while my Hector still survives, 1 see\\nMy father, mother, brethren, all in thee.\\nExtop, ccrag (tv poi lira 7rccJ?}g zoo) nolvitx fiqrtiP)\\nHog zcxo-tTiyvqlog, rv de poi daXzpog wagoMoirw", "height": "3932", "width": "2292", "jp2-path": "essayonprinciple00wood_0149.jp2"}, "150": {"fulltext": "130 PRINCIPLES OF CHAP. V.\\nThe translator has here unaccountably omit-\\nted the most energetic particular, which fills\\nup the climax, tv oe pot SccXtgoc KaPCLzoirrig*\\nBook vi. 570.\\nYet come it will, the day decreed by fates,\\n(How my heart trembles while my tongue relates.)\\nThis last line is a poor and superfluous ad-\\ndition, merely to furnish out a rhyme. Re-\\nlates, too, is improperly used for uttering a\\nprophecy. The original has uncommon\\ngrandeur and emphasis\\nEy l f/,sv yap rohi oiia, zu]a, (pgivx zcci xctla, dvuwv,\\nIL r r3 q ag, or kv toT ohw hn l^-iog Ipyi, C.\\nJohnson has thus beautifully discrimina-\\nted the characteristic features of the two\\ngreat Epics of Greece and Rome In the\\ncomparison of Homer and Virgil, the dis-\\ncriminative excellence of Homer is ele-\\nvation and comprehension of thought, and\\nthat of Virgil is grace and splendor of\\ndiction. The beauties of Homer are\\ntherefore difficult to be lost, and those of\\nVirgil difficult to be retained. The massy", "height": "3932", "width": "2608", "jp2-path": "essayonprinciple00wood_0150.jp2"}, "151": {"fulltext": "CHAP. V. TRANSLATION. 131\\ntrunk of sentiment is safe by its solidity\\nbut the blossoms of elocution easily drop\\naway. The author having the choice of\\nhis own images, selects those which he\\ncan best adorn the translator must, at all\\nhazards, follow his original, and express\\nthoughts which perhaps he would not\\nhave chosen.\\nJohnson s Life of Dryden.\\nIn the true, simple style of the Greek\\nepigram is the following, on a miser, from\\nthe Anthologia\\nM.vv A(ncXq 7ricto i i is o (piXctgyvgog zi v iv Oi%a y\\nKot;, t) TTotsigt p?i(ri\u00c2\u00bb, p/x7ars v, vug zuuoi\\nHdv 1? o fbvg ysXeifrug, Mr,d\\\\v, QtXe, (pqtrit (poSr^g-\\nOv%) rgotprjg TUga, ro) XgjfyftMi uXka (Aovqg.\\nA great part of the beauty of the above\\nepigram depends on the singular brevity of\\nexpression in which the dialogue is given\\nbetween the mouse and the miser,\\nCowper has spun it out into ten heavy\\nlines, without a spark of the spirit of the\\noriginal\\ni2", "height": "3932", "width": "2292", "jp2-path": "essayonprinciple00wood_0151.jp2"}, "152": {"fulltext": "132 PRINCIPLES OF CHAP. V.\\nA miser traversing his house,\\nEspied, unusual there, a mouse,\\nAnd thus his uninvited guest,\\nBriskly inquisitive, address d\\nTell me, my dear, to what cause is it\\ncc I owe this unexpected visit\\nThe mouse her host obliquely eyed,\\nAnd smiling, pleasantly replied,\\nFear not, good fellow, for your hoard\\nI come to lodge, and not to board.\\nThe following version of the same epigram,\\nif not altogether faithful, rivals the original\\nat least in brevity\\nTo old Harpagon thus, lamenting his hap,\\nA mouse whom the miser had caught in a trap\\ne My life and my lodging I pray thee to spare\\nAs for victuals, I know, I must seek them elsewhere.\\nBut a translator may discern the general\\ncharacter of his author s style, and yet fail\\nremarkably in the imitation of it. Unless\\nhe is possessed of the most correct taste, he\\nwill be in continual danger of presenting an\\nexaggerated picture or a caricatura of his\\noriginal. The distinction between good and\\nbad writing is often of so very slender a na-", "height": "3928", "width": "2616", "jp2-path": "essayonprinciple00wood_0152.jp2"}, "153": {"fulltext": "CHAP. V. TRANSLATION. 1 33\\nture, and the shadowing of difference so ex-\\ntremely delicate, that a very nice perception\\nalone can at all times define the limits.\\nThus, in the hands of some translators, who\\nhave discernment to perceive the general\\ncharacter of their author s style, but want\\nthis correctness of taste, the grave style of\\nthe original becomes heavy and formal in\\nthe translation the elevated swells into\\nbombast, the lively froths up into the pe-\\ntulant, and the simple and naif degenerates\\ninto the childish and insipid\\nIn the fourth Oration against Catiline,\\nCicero, after drawing a most striking picture\\nof the miseries of his country, on the sup-\\nposition that success had crowned the de-\\nf 3\\nSectanicm levia nervi\\nDejiciunt animique prqfcssiis grandia turget\\nSerpit humi tutus nimium timidusque proccllce.\\nIn vitium ducit culpa; fuga si caret arte.\\nHo a. Ep. ad Pi?,", "height": "3924", "width": "2376", "jp2-path": "essayonprinciple00wood_0153.jp2"}, "154": {"fulltext": "134 PRINCIPLES OF CHAP. V.\\nsigns of the conspirators, closes the detail\\nwith this grave and solemn application\\nQuia mihi vehement er h c videntur mi-\\nsera at que miseranda, idcirco in eos qui ea\\nperjicere voluerunt, me sever urn, vehemen-\\ntemque prtebeo. Etenim qucero, si quis pa-*\\nterfamilias, liberis suis a servo interfectis,\\nuxore occisd, incensa domo, supplicium de ser-\\nvo qudrn acerbissimum sumserit iitrum is\\nclemens ac misericors^ an inhwnanissimus et\\ncrudelissimus esse videatur Mihi verb im-\\nportunus ac ferreus, qui non dolore ac cru-\\nciatu fiocentis, suum dolor em ac cruciatum\\nlenierit.\\nHow awkwardly is the dignified gravity\\nof the original imitated, in the following\\nheavy, formal, and insipid version.\\nNow as to me these calamities appear\\nextremely shocking and deplorable there-\\nfore I am extremely keen and rigorous in\\npunishing those who endeavoured to\\nbring them about. For let me put the\\ncase, that a master of a family had his", "height": "3932", "width": "2612", "jp2-path": "essayonprinciple00wood_0154.jp2"}, "155": {"fulltext": "Chap. v. translation. 135\\nchildren butchered, his wife murdered, his\\nhouse burnt down by a slave, yet did not\\ntl inflict the most rigorous of punishments\\nu imaginable upon that slave would such\\na master appear merciful and compas-\\n11 sionate, and not rather a monster of cruel-\\nty and inhumanity To me that man\\nu would appear to be of a flinty cruel na-\\nture, who should not endeavour to soothe\\nhis own anguish and torment by the\\nanguish and torment of its guilty cause\\nOvid, in describing the fatal storm in\\nwhich Ceyx perished, says,\\nXJndarum inctirsu gravis ttnda, tonitrubus (Ether\\nFluctibus erigilur, codumque cequare videtur\\nPontus.\\nAn hyperbole, allowable in poetical descrip-\\ntion but which Dryden has exaggerated\\ninto the most outrageous bombast\\ni 4\\nThe Orations of M. T. Cicero translated into English,\\nwith notes\u00c2\u00bb historical and critical. Dublin 17 66.", "height": "3928", "width": "2384", "jp2-path": "essayonprinciple00wood_0155.jp2"}, "156": {"fulltext": "136\\nPRINCIPLES OP CHAP. V.\\nNow waves on waves ascending scale the skies,\\nAnd in the fires above the water fries.\\nIn the first scene of the Amphitryo of\\nPlautus, Sosia thus remarks on the unusual\\nlength of the night\\nNeque ego hac nocte longiorem me vidisse censeo,\\nNisi item uuam, verberatus quam pependi perpetem.\\nEarn quoque, JFdepoJ, etiam multo hoec vicit longitudine.\\nCredo eqtridem dormire solem atque appotum probe,\\nMir a sunt, nisi invitavit sese in coena phiscidum.\\nTo which Mercury answers\\nAin vero, verbero Deos esse tui siniiles put as\\nEgo, Pol, te istis tit is pro diet is et malefactis furcifer,\\nAccipiam, modo sis veni hue invenies infortunium.\\nEchard, who saw no distinction between\\nthe familiar and the vulgar, has translated\\nthis in the true dialect of the streets\\nI think there never was such a long\\nnight since the beginning of the world,\\nexcept that night I had the strappado,\\nand rid the wooden horse till morning\\nand o my conscience, that was twice as", "height": "3952", "width": "2616", "jp2-path": "essayonprinciple00wood_0156.jp2"}, "157": {"fulltext": "CHAP. V.\\nTRANSLATION. 137\\nlong By the mackins, I believe Phce-\\nbus has been playing the good-fellow,\\nand s asleep too. I ll be hang d if he\\nben t in for t, and has took a little too\\nmuch o the creature.\\nMer. Say you so, slave What, treat\\nGods like yourselves. By Jove, have\\nat your doublet, Rogue, for scandalum\\nmagnatum. Approach then, you ll ha*\\nbut small joy here.\\nMer. Accedam, at que hanc appellabo\\natque supparasitabo patri. Ibid. sc. 3.\\nMer. I ll to her, and tickle her up as\\nmy father has done.\\nSosia. Irritabis crabrones. Ibid, act 2,\\nsc. 2.\\nSosia* You d as good p ss in a bee-\\nhive.\\nSeneca, though not a chaste writer, is re-\\nmarkable for a courtly dignity of expres-\\nEchard has here mistaken the author s sense. He ought\\nto have said, o my conscience, this night is twice as long\\nas that was.", "height": "3920", "width": "2376", "jp2-path": "essayonprinciple00wood_0157.jp2"}, "158": {"fulltext": "138 PRINCIPLES OF CHAP. V,\\nsion, which, though often united with ease,\\nis in the opposite extreme to meanness or\\nvulgarity. L Estrange has presented him\\nthrough a medium of such coarseness, that he\\nis hardly to be known.\\nProbatos itaque semper lege, et siquando\\nad alios divertere libuerit, ad priores redi.\\nIfihU ctque sanitate??! impedit qiiam remedio-\\nrum crebva mutatio, Ep. 2. Of authors\\nbe sure to make choice of the best and,\\nas I said before, stick close to them and\\nthough you take up others by the bye, re-\\nserve some select ones, however, for your\\nstudy and retreat. Nothing is more hurt-\\nful, in the case of diseases and wounds,\\nthan the frequent shifting of physic and\\nplasters.\\nTuit qui dicer et, Quid prodis operam? ille\\nquem quceris elatus, combustus est, De belief.\\nlib. c. 21. Friend, says a fellow, you\\nmay hammer your heart out, for the man\\nyou look for is dead.", "height": "3948", "width": "2460", "jp2-path": "essayonprinciple00wood_0158.jp2"}, "159": {"fulltext": "CHAP. V, TRANSLATION. 139\\nCum mult a in crudelitatem Pisistrati con-\\nviva ebrius dixisset. De ira, lib. 3. c. 11.\\nThrasippus, in his drink, fell foul upon\\nthe cruelties of Pisistratus.\\nFrom the same defect of taste, the simple\\nd natural ma\\nish and insipid.\\nand natural manner degenerates into child-\\nJ ai perdu tout mon bonheur,\\nJ ai perdu mon serviteur,\\nColin me delaisse.\\nHelas il a pu changer\\nJe voudrois n y plus songer:\\nJ y songe sans cesse.\\nRousseau, Devin de Village.\\nI ve lost my love, Fve lost my swain\\nColin leaves me with disdain.\\nNaughty Colin hateful thought\\nTo Colinette her Colin s naught.\\nI will forget him that I will\\nAh, t wont do I love him stilL", "height": "3916", "width": "2376", "jp2-path": "essayonprinciple00wood_0159.jp2"}, "160": {"fulltext": "", "height": "3932", "width": "2460", "jp2-path": "essayonprinciple00wood_0160.jp2"}, "161": {"fulltext": "CHAP. VI. TRANSLATION. 141\\nCHAPTER VL\\nExamples of a good Taste in Poetical Trans-\\nlation. Bourne s Translations from Mal-\\nlet and from Prior, Dr Atterbury from\\nHorace. The Duke de Nivernois from\\nHorace. Dr Jortin from Simonides.\\nImitation of the same by Dr Markham.\\nMr Glasse from Mason s Caractacus.\\nMr Webb from the Anthologia. Grotius\\nfrom the sa?ne. Hughes from Claudian,\\nBeattiefrom Pope. Pope from Boileau.\\nFragments of the Greek Dramatists by Mr\\nCumberland.\\nAfter these examples of faulty transla-\\ntion, from a defect of taste in the translator,\\nor the want of a just discernment of his au-\\nthor s style and manner of writing, I shall", "height": "3892", "width": "2316", "jp2-path": "essayonprinciple00wood_0161.jp2"}, "162": {"fulltext": "142 PRINCIPLES OF CHAP. VI.\\nnow present the reader with some specimens\\nof perfect translation, where the authors\\nhave entered with exquisite taste into the\\nmanner of their originals, and have suc-\\nceeded most happily in the imitation of\\nit.\\nThe first is the opening of the beautiful\\nballad of William and Margaret, translated\\nby Vincent Bourne.\\nI.\\nWhen all was wrapt in dark midnight,\\nAnd all were fast asleep,\\nIn glided Margaret s grimly ghost,\\nAnd stood at William s feet.\\nII.\\nHer face was like the April morn,\\nClad in a wintry-cloud\\nAnd clay-cold was her lily hand,\\nThat held her sable shrowd.\\nIII.\\nSo shall the fairest face appear,\\nWhen youth and years are flown\\nSuch is the robe that Kings must wear.\\nWhen death has reft their crown*", "height": "3924", "width": "2476", "jp2-path": "essayonprinciple00wood_0162.jp2"}, "163": {"fulltext": "CHAP. VI. TRANSLATION. 143\\nIV.\\nHer bloom was like the springing flower,\\nThat sips the silver dew\\nThe rose was budded in her cheek,\\nAnd opening to the view.\\nV.\\nBut Love had, like the canker-worm,\\nConsum d her early prime\\nThe. rose grew pale and left her cheek,\\nShe died before her time.\\nL\\nOmnia nox tenebris, tacitaque involverat umbra,\\nEtfessos homines vinxerat alta quies\\nCum valvas patuere, et gressu illapsa silenti,\\nThyrsidis ad tectum stabat imago Ckloes.\\nII.\\nf alius erat, qualis lachrymosi vidtus Aprilis,\\nCui dubia hyberno conditur imbre dies;\\nQuaque sepulchralem a pedibus collegit amictum f\\nCandidior nivibus, frigidiorqiie maims,\\nIII,\\nQumque dies aberunt molles, et Iceta juventus,\\nGloria pallebit, sic Cyparissi tua\\nCum mors decutiet capiti diademata, reguw\\nJHac erit in trabea conspickntfus hono$.", "height": "3920", "width": "2368", "jp2-path": "essayonprinciple00wood_0163.jp2"}, "164": {"fulltext": "144 Principles of chap. to.\\nIV.\\nForma fait (dum forma fait J nascentis ad instar\\nFloris, cui cano gemmula rore tumet\\nFt Veneres risere, et subrubuere lobelia,\\nSubrubet ut teneris purpura prima rosis.\\nV.\\nSed lenta exedit tabes mollemque ruborem,\\nEtfaciles risus, et juvenile decus\\nFt rosa paulatim languens, nudata reliquit\\nOscula prceripuit mors properata Ckloen.\\nThe second is a small poem by Prior, en-\\ntitled Ckloe Huntings which is likewise trans-\\nlated into Latin by Bourne.\\nBehind her neck her comely tresses tied,\\nHer ivory quiver graceful by her side,\\nA-hunting Chloe went she lost her way,\\nAnd through the woods uncertain chanc d to stray.\\nApollo passing by beheld the maid\\nAnd, Sister dear, bright Cynthia, turn, he said\\nThe hunted hind lies close in yonder brake.\\nLoud Cupid laugh d, to see the God s mistake\\nAnd laughing, cried a Learn better, great Divine,\\nTo know thy kindred, and to honour mine.\\nRightly advis d, far hence thy sister seek,\\nOr on Meander s banks, or Latmus peak.", "height": "3932", "width": "2460", "jp2-path": "essayonprinciple00wood_0164.jp2"}, "165": {"fulltext": "CHAP, VI. TRANSLATION. 145\\nBut in this nymph., my friend, my sister know\\nShe draws my arrows, and she bends my bow.\\nFair Thames she haunts, and every neighbouring grove.\\nSacred to soft recess, and gentle Love.\\nGo with thy Cynthia, hurl the pointed spear\\nAt the rough boar, or chace the flying deer\\nI, and my Chloe, take a nobler aim\\nAt human hearts we fling, nor ever miss the game.\\nForte Chloe, pulchros nodo collecta capillos\\nPost collum, pharetraque latus succincta decora,\\nVenatrix ad sylvam that cervumque secuta\\nElapsum visu, deserta per avia tendit\\nIncerta. Errantem nympham conspexit Apollo,\\nEt, converte tuos, dixit, mea Cynthia, cursus\\nEn ibi (monstravitque manuj tibi cervus anhelat\\nOccultus dumo, latebrisque moratur in illis.\\nImprobus hoec audivit Amor, lepidumque cachinnum\\nAttollens, poterantne etiam tua numinafalli\\nJlinc, quoeso, bone Phoebe, tuam dignospe sororem,\\nEt melius venerare meam. Tua Cynthia longe,\\nMceandri ad ripas, aut summi in vertice Latmi,\\nVersatur nostra est soror hcec, nostra, inquit arnica, est\\nHcec nostros promit calamos, arcumque sonantem\\nJncurvat, Tamumque colens, placidosque recessus.\\nLucorum, auos alma quies sacravit amori.\\nK", "height": "3932", "width": "2388", "jp2-path": "essayonprinciple00wood_0165.jp2"}, "166": {"fulltext": "146 PRINCIPLES OF CHAP. VI,\\nIte per mnbrosos saltus, lustrisque vel aprum\\nExcutite horrentem setis, cervumve fugacem,\\nTuque sororque tua, et directo sternite ferro\\nNobilior labor, et divis dignissima cura,\\nMeque Chloenque manet nos cor da humana ferimus,\\nVibrantes cerium vulnus nee inutile telum.\\nThe third example I shall give, is Bishop\\nAtterbury s translation of the third Ode of\\nthe fourth book of Horace\\nHe, on whose birth the Lyric Queen\\nOf numbers smiTd, shall never grace\\nTh Isthmian gauntlet, nor be seen\\nFirst in the fam d Olympic race.\\nHe shall not, after toils of war,\\nAnd taming haughty monarch s pride,\\nWith laurel d brows, conspicuous far,\\nTo Jove s Tarpeian temple ride.\\nBut him the streams that warbling flow\\nRich Tyber s flow ry meads along,\\nAnd shady groves (his haunts) shall know\\nThe Master of the iEolian song.\\nIt is of this celebrated ode that Joseph Scaliger has\\nabsurdly said, that he had rather have been the author,\\ni f than King of Arragon/*", "height": "3928", "width": "2464", "jp2-path": "essayonprinciple00wood_0166.jp2"}, "167": {"fulltext": "CHAP. VI. TRANSLATION. 147\\nThe sons of Rome, majestic Rome\\nHave fix d me in the Poet s choir.\\nAnd envy now, or dead, or dumb,\\nForbears to blame what they admire.\\nGoddess of the sweet-sounding lute,\\nWhich thy harmonious touch obeys,\\nWho canst the finny race, tho mute,\\nTo Cygnet s dying accents raise\\nThy gift it is, that all with ease.\\nMy new, unrival d honours own\\nThat I still live, and living please,\\nO Goddess is thy gift alone.\\nQuern tu, Melpomene, semel\\nNascentem placido famine videris,\\nIlium non labor Isthmius\\nClarabit pugilejn non equus impiger\\nCurru ducet Achaico\\nVictor em j neque res bellica Deliisj\\nOrnatum foliis ducem,\\nQuod regum tumidas contuderit minas,\\nOstendet Capitolio:\\nSed quce Tibur aquce fertile perjluunt,\\nEt spissce nemorum comoe,\\nFingent Molio carmine nobilem*\\nk2", "height": "3932", "width": "2364", "jp2-path": "essayonprinciple00wood_0167.jp2"}, "168": {"fulltext": "148 PRINCIPLES OF CHAP. VI.\\nMomce principis urbium\\nDignatur soboles inter amabiles\\nVatum ponere me choros\\nEtjam dente minus mordeor invido.\\n0, testudinis aurece\\nDulcem qua? strepitum, Pieri, temperas\\nmutts quoque piscibus\\nDonatura Cycni, si libeat, sonum\\nTotum muneris hoc tui est,\\nQuod monstror digito prceiereuntium\\nRomance Jidicen tyrce\\nQuod spiro et placeo, si placeo, tuum est\\nAn anonymous English translator of the same ode has\\ndone justice to his original, in a complete transfusion of its\\nsense, and a considerable portion of its nerve and spirit\\nbut with a sensible deficiency of that ease and melody of\\nnumbers which characterize his prototype, and shine con-\\nspicuously in the preceding translation\\nWhom thou, O daughter chaste of Jove,\\nDidst at his birth, with eyes of love\\nBehold, in Isthmian games, nor he\\nFam d for the wrestler s wreath shall be\\nNor yet his latest lineage grace,\\nBy conquering in the chariot-race\\nNor him the toils to warriors known,\\nA laurel d chief, shall victor crown.", "height": "3932", "width": "2444", "jp2-path": "essayonprinciple00wood_0168.jp2"}, "169": {"fulltext": "CHAP. VI. TRANSLATION. 149\\nThe fourth specimen, is a translation\\nby the Duke de Nivernois, of Horace s\\ndialogue with Lydia\\nHorace.\\nPlus heureux qu un monarque au faite des grandeurs,\\nJ ai vu mes jours dignes d envie,\\nTranquilles, ils couloient au gre de nos ardeurs\\nVous m aimiez, charmante Lydie.\\nBut fruitful Tibur s winding floods,\\nAnd all her verdant mass of woods,\\nTo render famous shall conspire,\\nFor varied verse that suits the lyre.\\nImperial Rome, the nurse of Fame\\nHas deign d to register my name\\nAmong the poets tuneful choir,\\nAnd envy now abates her ire.\\nGoddess, who the notes dost swell,\\nSo sweetly on my golden shell\\nWho canst confer, if such thy choice,\\nOn fishes mute the cygnet s voice\\nTis to thee I wholly owe\\nWhispers flying where I go\\nThat to the pressing throng I m show d\\nInventor of the Roman ode.\\nk3", "height": "3932", "width": "2352", "jp2-path": "essayonprinciple00wood_0169.jp2"}, "170": {"fulltext": "150 PRINCIPLES OP CHAP. VI.\\nLydie\\nQue mes jours etoient beaux, quand des soins les plus doux\\nVous payiez ma flamme sincere\\nVenus me regardoit avec des yeux jaloux\\nChloe n avoit pas S9U vous plaire.\\nHorace.\\nPar son luth, par sa voix, organe des amours,\\nChloe seule me paroit belle\\nSi le Destin jaloux veut epargner ses jours,\\nJe donnerai les miens pour elle.\\nLydie.\\nLe jeune Calais, plus beau que les amours,\\nPlait seul a mon ame ravie\\nSi le Destin jaloux veut epargner ses jours,\\nJe donnerai deux fois ma vie.\\nHorace.\\nQuoi, si mes premiers feux, ranimant leur ardeur,\\nEtouffoient une amour fatale\\nSi, perdant pour jamais tous ses droits sur mon cceur,\\nChloe vous laissoit sans rivale\\nLydie.\\nCalais est charmant mais je n aime que vous,\\nIngrat, mon cceur vous Justine\\nHeureuse egalement en des liens si doux,\\nDe perdre ou de passer la vie.", "height": "3932", "width": "2452", "jp2-path": "essayonprinciple00wood_0170.jp2"}, "171": {"fulltext": "CHAP. VI* TRANSLATION. 151\\nHorace.\\nDonee gratus eram tibi,\\nNee quisquam potior brachia Candida?\\nCervici juvenis dabat\\nPersarum vigui rege beatior,\\nLydia.\\nDonee non aliam magis\\nArsisti, neque erat Lydia post Chloen\\nMulti Lydia nominis\\nJRomana vigui clarior Ilia.\\nHorace.\\nMe nunc Thressa Chloe regit,\\nDidces docta modos, et ciiharae sciens\\nPro qua non meiuam mori,\\nSi parcent animcejata superstitu\\nLydia.\\nMe torretface mutua\\nThurini Calais Jilius Ornitki\\nPro quo bis patiar mori,\\nSi parcent puerofata super stiti.\\nk4", "height": "3908", "width": "2384", "jp2-path": "essayonprinciple00wood_0171.jp2"}, "172": {"fulltext": "152 PRINCIPLES OF CHAP. VI.\\nHorace.\\nQuid, si prisca redit Venus,\\nDiductosque jugo cogit aheneo?\\nSijiava excutitur Chloe,\\nRejectceque patetjamia hydioe\\nLydia.\\nQuamquam sidere pulchrior\\nIlle est, tu levior cortice, et improbo\\nIracundior Hadria;\\nTecum vivere amem, tecum obeamlibens.\\nHor. S. Od. 9.\\nIf any thing is faulty in this excellent\\ntranslation by the Duke de Nivernois, it\\nis the last stanza, which does not convey\\nthe happy petulance, the procacitas of the\\noriginal. The reader may compare with\\nthis, the fine translation of the same Ode by\\nBishop Atterbury, Whilst I was fond,\\nand you were kind, which is too well\\nknown to require insertion.\\nThe next example is a translation by Dr\\nJortin, of that beautiful fragment of Simo-\\nnides, preserved by Dionysius, in which\\nDanae, exposed with her child to the fury", "height": "3948", "width": "2460", "jp2-path": "essayonprinciple00wood_0172.jp2"}, "173": {"fulltext": "CHAP. VI. TRANSLATION. 153\\nof the ocean, by command of her inhuman\\nfather, is described lamenting over her sleep-\\ning infant\\nEx Dionys. Hal. De Compositione Verbo-\\nrum, c. 26.\\nOrg Xocgvazi ev dctiltoi hea clvepog\\nBgitArj zsveoov, xivri eiffa de ki^va,\\nUageicug, kptpi re Ueg r\u00c2\u00a3 GocXXs\\nO/Xctv %sfa h ev re u rezvov,\\nOiov iyu vrovov. cv a,vre yttX 7\\\\m\\nHrogi xvu T reig ev ure^zei i fAc rt,\\nKa, hzeoy6{A pa) is. y vvxriXupzsii,\\nKvuvea) re ivo p crv V avaXeav\\nYnzgfo rea,v xopuv Qadeluv\\nTloLgwrog zvpctrog ax k\\\\eyeig\\nOv$ averts p6oyyuv y vrogQvgect\\nKeiftevog ev ^Xavih y irgoffcwrov scocXov\\nE tie rot deivov ro ye deivov qv\\nKcti %ev ifjwv pqfAuruv Xeffrov\\nTnelfceg Sag* ne hopoci, ivfe, \u00c2\u00a3ge$o$,", "height": "3912", "width": "2380", "jp2-path": "essayonprinciple00wood_0173.jp2"}, "174": {"fulltext": "I 54 PRINCIPLES OP CHAP. VL\\nEvotrco h izovrog, ivo^eroo upergov xcczov.\\nMccTUioCxXici \u00c2\u00a7g rig (poiveiq\\nZev vrureg, Ik rio- on iq OctgcccXsor\\nEvog, ivyopai rexvotpt liiKoig poi-\\nNocte sub obscura, verrentibus aequora ventis,\\nQuum brevis immensa cymba nataret aqua\\nMulta gemens Danae subjecit brachia nato,\\nEt tenera? lacrymis immaduerc genae.\\nTu tamcn ut dulci, dixit, pulcherrime, somno\\nObrutus, et metuens tristia nulla, jaces\\nQuamvis, heu quales cunas tibi concutit unda,\\nPraebet et inccrtam pallida luna facem,\\nEt vehemens flavos everberat aura capillos,\\nEt prope, subsultans, irrigat ora liquor.\\nNate, meam sentis vocem Nil cernis et audis,\\nTeque premunt placidi vincula blanda dci\\nNee mihi purpureis effundis bla?sa labellis\\nMurmura, nee notos confugis usque sinus.\\nCare, quiesce, puer, saevique quiescite fluctus,\\nEt mea qui pulsas coi da, quiesce, dolor.\\nCresce puer matris leni atque ulciscere luctus,\\nTuque tuos saltern protege summe Tonans.\\nThis admirable translation falls short of\\nits original only in a single particular, the\\nmeasure of the verse. One striking beauty", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0174.jp2"}, "175": {"fulltext": "CHAP. VI. TRANSLATION. 155\\nof the original, is the easy and loose struc-\\nture of the verse, which has little else to\\ndistinguish it from animated discourse, but\\nthe harmony of the syllables and hence It\\nhas more of natural impassioned eloquence,\\nthan is conveyed by the regular measure of\\nthe translation. That this characteristic of\\nthe original should have been overlooked\\nby the ingenious translator, is the more re-\\nmarkable, that the poem is actually quoted\\nby Dionysius, as an apposite example of\\nthat species of composition in which poetry\\napproaches to the freedom of prose dps\\nGfAoioTTjra, irgog rtjy Kityv xi^iv- Dr Markham\\nsaw this excellence of the original and in\\nthat fine imitation of the verses of Simoni-\\ndes, which an able critic has pronounced\\nto be far superior to the original, has given\\nit its full effect. The passage alluded to\\nis an apostrophe of a mother to her sleep-\\ning infant, a widowed mother, who has just\\nleft the deathbed of her husband.\\nDr Warton.", "height": "3916", "width": "2376", "jp2-path": "essayonprinciple00wood_0175.jp2"}, "176": {"fulltext": "156 PRINCIPLES OF CHAP. VI.\\nHis conatibus occupata, ocellos\\nGuttis lucidulis adhuc madentes\\nConvertit, puerum sopore vinctum^\\nQua nutrix placido sinu fovebat\\nDormis, inquit, O miselle, nee te\\nVultus exanimes, silentiumque\\nPer longa atria commovent, nee ullo\\nFratrum tangeris, aut meo dolore\\nNee sentis patre destitutes illo,\\nQui gestans genibusve -brachiove,\\nAut formans lepidam tuam loquelam\\nTecum mille modis ineptiebat.\\nTu dormis, volitantque qui solebant\\nRisus in roseis tuis labellis.-\\nDormi parvule nee mali dolores\\nQui matrem cruciant tuae quietis\\nRumpant somnia. Quando, quando tales\\nRedibunt oculis meis sopores\\nAs a counterpart to these specimens of\\nLatin translation, or imitation from the\\nGreek, I shall now lay before the reader,\\nwhat I conceive to be an attempt yet more\\narduous, though accomplished with equal\\nfelicity. The specimen I allude to is taken\\nfrom a complete translation of Mason s Ca-\\nractacus into Greek verse, by the late Mr", "height": "3932", "width": "2400", "jp2-path": "essayonprinciple00wood_0176.jp2"}, "177": {"fulltext": "CHAP. VI. TRANSLATION. 157\\nGlasse of Christ Church, Oxon a work\\nwhich has been justly deemed one of the\\nmost extraordinary efforts in Greek litera-\\nture that has appeared since the revival\\nof letters.\\nThe following speech of Caractacus to\\nthe. Druids, who attempt to soothe his\\nagitated mind, preparatory to the cere-\\nmony of initiating him in their mysteries,\\nand adopting him into their sacred order,\\nmust be allowed to possess great poetical\\nmerit. I present it first in the English in\\norder that those parts may be more parti-\\ncularly remarked, in which the translator\\nhas assumed an allowable latitude, and per-\\nhaps even improved upon his original.\\nThe Chief of the Druids thus addres-\\nses Caractacus proposing to him the vir-\\ntuous fortitude of his daughter as an ex*\\nample\\n_\u00e2\u0080\u0094 See, Prince, this prudent maid,\\nNow, while the ruddy flame of sparkling youth", "height": "3920", "width": "2376", "jp2-path": "essayonprinciple00wood_0177.jp2"}, "178": {"fulltext": "15S PRINCIPLES OP CHAP. VI.\\nGlows on her beauteous cheek, can quit the world\\nWithout a sigh, whilst thou\\nCaractacus.\\nwould save my queen,\\nFrom a hase ravisher would wish to plunge\\nThis falchion in his breast, and so avenge\\nInsulted royalty. O holy men\\nYe are the sons of piety and peace\\nYe never felt the sharp vindictive spur\\nThat goads the injur d warrior the hot tide\\nThat flushes crimson on the conscious cheek\\nOf him who burns for glory else indeed\\nYe much would pity me would curse the fate\\nThat coops me here inactive in your graves,\\nRobs me of hope, tells me this trusty steel\\nMust never cleave one Roman helm again,\\nNever avenge my queen, nor free my country.\\nDruid.\\nTis Heaven s high will\\nCaractacus.\\nI know it, reverend fathers\\nTis Heaven s high will, that these poor aged eyes\\nShall never more behold that virtuous woman,\\nTo whom my youth was constant twas Heaven s high will\\nTo take her from me at that very hour,", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0178.jp2"}, "179": {"fulltext": "CHAP. VI. TRANSLATION. 159\\nWhen best her love might soothe me that black hour,\\nMay memory ever raze it from her records\\nWhen all my squadrons fled, and left their king\\nOld and defenceless him, who nine whole years\\nHad taught them how to conquer yes, my friends^\\nFor nine whole years against the sons of rapine\\nI led my veterans, oft to victory,\\nNever, till then, to shame Bear with me, Druid,\\nI ve done begin the rites,\\nThe beauties of this fine speech are not im-\\npaired in the following version, which, with\\nequal pathos, has a smplicity more conso-\\nnant to the language of the translation, than\\nwould have been any attempt to imitate\\nthe glowing diction of the original\\nKocXcug sXs^ccg- zc i to fizkris oy Pgove7f,\\nHr/\u00c2\u00a3, vtoLvig 8 rot 9 xagrsgag irXtjg\\nAsivov rugwyfjLov, r$ vvoTrotxriv Qegsiv\\nAgXflS r ayavr,g 9 %ai zaXqg rvgavvidog.\\n2y y d KugcwTccx", "height": "3920", "width": "2376", "jp2-path": "essayonprinciple00wood_0179.jp2"}, "180": {"fulltext": "160 PRINCIPLES OF CHAP. TL\\nKAPAKTAKOS.\\nEfc {JLtOlS OgOC OlhOt\\nUalffut rov vfigiffjg owajg, yv^rcov ?\\\\ap,\\nTtfAag M fid eXvy plug dsivrjv Xafir},\\nTijgaurxer h i\\\\ -AvIpov, Z dvtrcifAfAOPog\\nAvcl% zax.5rut, rqv rs trefAvqv sus Mrt?\\ni JLvd% rict,(rf6ov r kngog fpotiriyiris\\nRvoy}(rccl\\\\ oizreipcir uv hd hiwrwovy\\n*Ov l^OhtohOT IfipifrX (AOlPUg CV7C0\\nA oiirev thing bwror, bwo6 vs spoy\\nVa^ouov h yAyuHriv ircura %i pzi\\nAcifAapl b, vfipifypog rciw(rof/,ui,\\nOv ynv noflpfijuv. Asfsr, H^gAov 0go/\u00c2\u00ab\\nTyufwi ysgaior -^^(purocv ieivo) 6so) y\\nMs fArjAr ucrtfalv ipw Tvidqp iav,\\nH/3?? re, yriPcf, r, u)ev r)yoc7r^fASvtjV\\nt/ltiXiyf/u uv iug, km wovm ^eXfcr^ov*", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0180.jp2"}, "181": {"fulltext": "CHAP. VH. TRANSLATION. 161\\n3 OXoiro Kizgov rifiug) a Quyov nanus\\nAetXa) (paXctyyeg, xui ft lroX^n ra v Xmuv\\nAva^t) og IrocXw uno xivs ojv nccra,\\nHyyiffccubriv Kgog zvdog ivvaileg fgoira*\\nAury/gag Ityewyov vuvlzg ?Q Agv?,Agv? f\\nMavtrj QogSfAui tto7o\u00c2\u00bb l^fivim koyov\\nliyu* weguiv60\\\\ wg tome, (Secpta,*\\nCaractacus, Grceco Carmine redditus, a Georgio Henrico\\nGlasse, A. B. Mdes Christi alumno. Qxon. 1771\\nThe next specimen I shall give, is the\\ntranslation of a beautiful epigram, from the\\nAntholonia, which is supposed by Junius to\\nbe descriptive of a painting mentioned by\\nPliny f, in which, a mother wounded, and\\nL\\nThe author of this excellent translation gave afterwards\\nto the public a similar proof of erudition and taste in his ver-\\nsion of the Samson Agonistes of Milton. See 2AM* \u00c2\u00a32 N\\nAmNlETHS, Groeco Carmine redditus, a G. H. Glasse,\\nA. M. Mdes Christi nuper alumno. Qxon. 1788.\\n\u00e2\u0099\u00a6f- Hujus (viz. Aristidis) pictura est, oppido capto, ad met\\nfrjs morientis e vulnere mammam adrepens infans intelligi", "height": "3932", "width": "2360", "jp2-path": "essayonprinciple00wood_0181.jp2"}, "182": {"fulltext": "162\\nPRINCIPLES OP CHAP. V%\\nin the agony of death, is represented as\\ngiving suck to her infant for the last time.\\nEXxvcov vfrocriov vciyuu, zoircitp ifAsyqg,\\nH^ yug f/(pss r n T^iwottvqos* ctXAa rot (Aflrgog\\nThus happily translated into English by\\nMr Webb\\nSuck, little wretch, while yet thy mother lives,\\nSuck the last drop her fainting bosom gives\\nShe dies her tenderness survives her breath,\\nAnd her fond love is provident in death;\\nturque sentire mater et timere, ne emortuo lacte sanguinem in-\\nJhns lambat. Plin. Nat. Hist. L 35. c. 10.\u00e2\u0080\u0094 If the epigram\\nwas made on the subject of this picture, Pliny s idea of the\\nexpression of the painting is somewhat more refined than that\\nof the epigrammatist, though certainly not so natural. As\\na complicated feeling can never be clearly expressed in paint-\\ning, it is not improbable that the same picture should have\\nsuggested ideas somewhat different to different observers.", "height": "3932", "width": "2388", "jp2-path": "essayonprinciple00wood_0182.jp2"}, "183": {"fulltext": "CHAP. VI. TRANSLATION. 163\\nNor with less felicity of expression, and\\nwith yet more strict fidelity to the original,\\nis the following epigram from the Antholo-\\ngia, translated into Latin by Grotius\\nf H Ha^ivi Kv bpsioc tii o^u.ajog ig Kv/Sbv 7}Xh 9\\nJ$x7v0{/Av/} zofliiuv likova, ty\\\\v idirjv.\\nYlccvlri J* kOgriffcura, itzpicryJi^lco Ivi yjypoo 9\\nHpa%irt\\\\7ig iz h^sv a, pr, Sepug, uXX o (rfyqpog\\nE%e(r Apqg o tuv yjhXi rr,v HaCptqv.\\nLib. iv. c. 12.\\nDiva Paphi Cnidiam trans aequora venit ad urbem.\\nEffigiem cupiens pulchra videre suam.\\nVenit ut in templurn, lustravitque omnia, Quando est\\nPraxiteles nudam me speculatus ait.\\nNon vidit, Venus, ille nefas quae cernere sed Mars\\nFerreus expressit qualem amat ipse Deam.\\nEqual in merit to any of the preceding,\\nis the following translation by Mr Hughes\\nfrom Claudian.\\nl2", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0183.jp2"}, "184": {"fulltext": "164 PRINCIPLES OF CHAP. VI.\\nEx Epithalamio Honor ii et Maries.\\nCunctatar stupefacta Venus nunc ora puellce,\\nNu?ic flavam niveo miratur vertice matrem.\\nHwc modo crescenti, plence par altera Luna*\\nAssurgit ceu forte minor sub matre virenti\\nLaurus et ingentes ramos, olimque fuiuras\\nVromittit jam parva comas: veljiore sub uno\\nSeu geminos Pa?stana rosce per jugera regnant\\nHa?c largo matura die, saturataque vernis\\nHoribus indidget spatio latet altera nodo,\\nNee teneris audetfoliis admittere soles.\\nThe goddess paus d and, held in deep amaze.\\nNow views the mother s, now the daughter s face^\\nDifferent in each, yet equal beauty glows\\nThat, the full moon, and this, the crescent shows.\\nThus, rais d beneath its parent tree is seen\\nThe laurel shoot, while in its early green\\nThick sprouting leaves and branches are essay 5 d,\\nAnd all the promise of a future shade.\\nOr blooming thus, in happy Paestan fields,\\nOne common stock two lovely roses 3delds\\nMature by vernal dews, this dares display\\nIts leaves full-blown, and boldly meets the day\\nThat, folded in its tender nonage lies,\\nA beauteous bud, nor yet admits the skies.", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0184.jp2"}, "185": {"fulltext": "CHAP. VI. TRANSLATION. 165\\nThe following passage, from Latin ver-\\nsion of the Messiah of Pope, by a youth of\\nuncommon genius exhibits the singular\\nunion of ease, animation and harmony of\\nnumbers, with the strictest fidelity to the\\noriginal.\\nLanigera ut caute placidus regit agmina pastor,\\nAeria ut explorat purum, camposque virerites\\nAmissas ut quoerit oves, moderator euntum\\nUt gressus, curatque diu, noctuque tuetur\\nUt teneros, agnos lenta inter brachia tollit,\\nMulcenti pascit palma, gremioque Jbcillat\\nSic genus omne hominum sic complectetur amanti\\nPectore, pr omissus seclo Pater illefuturo.\\nAs the good shepherd tends his fleecy care\\nSeeks freshest pasture and the purest air\\nExplores the lost, the wandering sheep directs,\\nBy day o ersees them, and by night protects\\nl3\\nJ. H. Beattie, son of the learned and ingenious Dr Beat-\\ntie of Aberdeen, a young man who disappointed the promise\\nof great talents by an early death. In him, the author of\\nThe Minstrel saw his Edwin realized.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0185.jp2"}, "186": {"fulltext": "166 PRINCIPLES OF CHAP, VI.\\nThe tender lambs he raises in his arms,\\nFeeds from his hand, and in his bosom warms\\nThus shall mankind his guardian care engage\\nThe promis d Father of the future age.\\nThe following translation by Pope, of a\\nfable from Boileau, affords a singular ex-\\nample of a very rare conjunction, the most\\nscrupulous fidelity to the original, with a\\ncomplete transfusion of its poetical spirit\\nOnce, (says an author, where, I need not say,)\\nTwo travellers found an oyster in their way\\nBoth fierce, both hungry the dispute grew strong,\\nWhile, scale in hand, dame Justice pass d along.\\nBefore her each with clamour pleads the laws,\\nExplaiu d the matter, and would win the cause.\\nDame Justice, weighing long the doubtful right,\\nTakes, opens, swallows it, before their sight.\\nThe cause of strife remov d so rarely well,\\nThere take, (says Justice), take ye, each, a shell.\\nWe thrive at Westminster by fools like you\\nTwas a fat oyster. Live in peace Adieu.\\nUn jour, dit un auteur, n importe en quel chapitre,\\nDeux voyageurs a jeun, rencontrerent une huitre.\\nTous deux la contestoient. lorsque dans leur chemin,\\nLa Justice pass la balance a la main", "height": "3948", "width": "2376", "jp2-path": "essayonprinciple00wood_0186.jp2"}, "187": {"fulltext": "CHAP. VI, TRANSLATION. 167\\nt)evant elle a grand bruit ils expliquent la chose\\nTous deux avee depens veulent gagner leur cause.\\nLa Justice, pesant ce droit litigieux,\\nDemande l huitre, 1 ouvre, et l avale a. leurs yeux\\nEt par ce bel arret terminant la battaille\\nTenez voila, dit elle, a chacun une ecaille.\\nDes sottises d autrui nous vivons au Palais;\\nMessieurs, l huitre etoit bonne Adieu.\u00e2\u0080\u0094 Vivez en paix.\\nTo these specimens of perfect translation,\\nin which, not only the ideas of the origi-\\nnal are completely transfused, but the man-\\nner most happily imitated, I add the follow-\\ning admirable translations by Mr Cumber-\\nland*, of two fragments from the Greek\\ndramatists Timocles and Diphilus, which are\\npreserved by Athenseus.\\nThe first of these passages beautifully\\nillustrates the moral uses of the tragic\\ndrama\\nl4\\nObserver, vol. iv. p. 115. and vol, v. p. 145,", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0187.jp2"}, "188": {"fulltext": "168 PRINCIPLES OF CHAP. VI,\\nNay, my good friend, out hear me I confess\\nMan is the child of sorrow, and this world,\\nIn which we breathe, hath cares enough to plague us\\nBut it hath means withal to soothe these cares\\nAnd he who meditates on others woes,\\nShall in that meditation lose his own\\nCall then the tragic poet to your aid,\\nHear him, and take instruction from the stage\\nLet Telephus appear behold a prince,\\nA spectacle of poverty and pain,\\nWretched in both. And what if you are poor\\nAre you a demigod Are you the son\\nOf Hercules Begone Complain no more.\\nDoth your mind struggle with distracting thoughts\\nDo your wits wander Are you mad Alas\\nSo was Alcmeon, whilst the world ador d\\nHis father as their God. Your eyes are dim\\nWhat then The eyes of (Edipus were dark,\\nTotally dark. You mourn a son he s dead\\nTurn to the tale of Niobe for comfort,\\nAnd match your loss with hers. You re lame of foot\\nCompare it with the foot of Philoctetes,\\nAnd make no more complaint. But you are old,\\nOld and unfortunate consult Oeneus\\nHear what a king endur d, and learn content.\\nSum up your miseries, number up your sighs,", "height": "3932", "width": "2380", "jp2-path": "essayonprinciple00wood_0188.jp2"}, "189": {"fulltext": "CHAP. VI. TRANSLATION. 169\\nThe tragic stage shall give you tear for tear,\\nAnd wash out all afflictions but its own\\nThe following fragment from Diphilus\\nconveys a very favourable idea of the spirit\\nThe original of the fragment of Timocles\\n7 \u00c2\u00a3l rdv, etKHTOV yjv It rat (AiXX i Asys i\\nAv$-\u00c2\u00a36)7ros z rt \u00c2\u00a3a ev \\\\7rl7c6V6v tpvcru,\\nK.CCI 7CoXXol XV7TVjj fiios h lotVTCJ\\nTlecpx^v^xg ouv typovTioav ctvtvpxro\\nTavrxg. yoig vSj tav iota* A j3-\u00c2\u00bb)y A#\u00c2\u00a3aw\u00c2\u00bb\\nMs0 vioovijs ctTrqX l 7retidivS-lis 0 oifiuc.\\nTiSg ya,^ r pay obits 7Fpcorov u fixXu rx.07CUt\\n\u00c2\u00a31$ axQiXxri 7rxvretg* o (Ah yct( uv 7iivn i\\nUraxfiTi^ov otvra xo tetfAx av rav TnXztyov\\nTivofAivov, vjovi TW TSVtXV QUW ty ieu.\\nO vocrZv \u00c2\u00a3g ftocvtKas, AXKfxxim Inti-fyotT**\\nOlpS-oiXftta lis tiTi \u00c2\u00aeive3cct rvtyXoi.\\nT vviKi tu Trxig 5 Niofin kvlxQim,\\nX #Ao? r;$ \\\\rri-, tov $iXoKlqrw op\u00c2\u00a3.", "height": "3920", "width": "2376", "jp2-path": "essayonprinciple00wood_0189.jp2"}, "190": {"fulltext": "170 PRINCIPLES OF CHAP. VI.\\nof the dialogue, in what has been termed\\nthe New Comedy of the Greeks, or that\\nwhich was posterior to the age of Alexan-\\nAxcuvtk y\u00c2\u00ab\u00c2\u00a3 rcc (Ail^ov -zrvMyfoz rig\\nArv^fMtr otXXoig ysyovor IvvoVf zvos,\\nTag uvtos etvris trv^t^kg j \u00c2\u00a3ov\\nAt ken. Drip. lib. vi-\\n^hus, in the literal version of Dalechampius\\nHem amice, nunc auscuUa quod dicturus sum tibi\\nAnimal natura laboriosum homo est.\\nTristia vita secum affert plurima\\nIlaque Curarum hoec adinvenit solatia\\nMentem enim suorum malorum oblitam,\\nAlienorum casuum reputatio consolaiur,\\nIndequejit ea larta, et erudita ad sapientiant.\\nTtajicos enim primum, si libel, considera*\\nQuam prosint omnibus. Qui eget,\\nPauperiorem sefuisse Telephum\\nCum intelligit, leniusfert inopiam.\\nInsania qui cegrotat, de Alcmeone is cOgitet.\\nLippus est aliquis, Phirtea ccecum is contemptetur.\\nObiit tibijilius, dolorem levabit exemplum Niobcs*\\n\u00e2\u0082\u00achudicat quispiam, Philocteten is respicito.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0190.jp2"}, "191": {"fulltext": "CHAP. VI. TRANSLATION. 171\\nder the Great. Of this period Diphilus and\\nMenander were among the most shining or-\\nnaments\\nWe have a notable good law at Corinth,\\nWhere, if an idle fellow outruns reason,\\nFeasting and junketting at furious cost,\\nThe sumptuary proctor calls upon him,\\nAnd thus begins to sift him. You live well,\\nBut have you well to live? You squander freely,\\nHave you the wherewithal Have you the fund\\nFor these outgoings If you have, go on 1\\nIf you have not, we ll stop you in good time,\\nBefore you outrun honesty for he\\nWho lives we know not how, must live by plunder\\nEither he picks a purse, or robs a house,\\nOr is accomplice with some knavish gang,\\nOr thrusts himself in crowds, to play th informer,\\nAnd put his perjur d evidence to sale\\nThis a well-order d city will not suffer\\nSuch vermin we expel And you do wisely\\nBut what is that to me Why this it is\\nMiser est senex aliquis, in (Eneum is intuetor.\\nOmnia namque graviora quam patiatur\\nInfortunia quids animadvertens in aliis cum depreltenderif.\\nSuas calamitates luget mimis.", "height": "3908", "width": "2384", "jp2-path": "essayonprinciple00wood_0191.jp2"}, "192": {"fulltext": "172 PRINCIPLES OF CHAP. VL\\nHere we behold you every day at work,\\nLiving forsoooth not as your neighbours live,\\nBut richly, royally, ye gods Why man,\\nWe cannot get a fish for love or money,\\nYou swallow the whole produce of the sea\\nYouVe driv n our citizens to browse on cabbage\\nA sprig of parsley sets them all a fighting,\\nAs at the Isthmian games If hare or partridge,\\nOr but a simple thrush comes to the market,\\nQuick, at a wOrd, you snap him By the Gods\\nlJunt Athens through, you shall not find a feather\\nBut in your kitchen and for wine, tis gold\\nNot to be purchas d. We may drink the ditches.\\nThe original of the fragment of Diphilus\\nTotSro iiopipov l rt ftihtii iv6ecdi\\nKfl\u00c2\u00a3iv3w$, tv ixv riv o-y/avisvT kit\\nActfATrgax; ogapiv, txtov uvetx^tvuv 7ro\\nZ*], xxt rt 7rotav. x.etv piv rto v ly^\\nH$ Ai 7rpo roooi Xvuti r kvctXeopxrec^\\nEoiv U7roXotvuv q 01 tStov rov /3/oy.\\nE#v v7Ti\u00c2\u00a3 tjjv ktriccv ox7rotvm Tv%n,\\nA-ZSeiTCM KVTCO TSTd {W ZTOl lV in.\\nOg $1 py 5Tg/3TJT h/lf X Xol) fypllZVi\\nEciv as ftv$i onSv i%m TroXvllXws,\\nT\u00c2\u00bb o^nfuw tcu^ukolv kvroy. H^ukXu^s\\nOY\u00c2\u00bb h^iyjiloii y#g \u00c2\u00a3*jV xviv x.ctx.5 rw r", "height": "3920", "width": "2396", "jp2-path": "essayonprinciple00wood_0192.jp2"}, "193": {"fulltext": "CIIAP. VI. TRANSLATION. 173\\nOf equal merit with these two last speci-\\nmens, are the greatest part of those transla-\\ntions given by Mr Cumberland of the frag-\\nments of the Greek dramatists. The lite-\\nTardy* vvvi/ig xXX MvuyKeuus i%\u00c2\u00a3i\\nH XwXO^vIhV rxg vvk\\\\x q nt^upv^etv^\\nH t5v 7romvrm rxvtx. xoivcoveiv na-iv.\\nH GrvKotpxvleiv kx] uyo^ccv, ij pxervgeiv\\nJ Sv^jj. Ttinruv bcxxfrxi goftiv yzvog.\\nO^B-as yi vv A/\\\\ xXXx tkt Ipci\\nOgufjciv o^/mSvB zxmtyis yipz^xg,\\nOY^ fiir^iafg, /SsXWs, r, \u00c2\u00abAA vTrz^tycivcoc.\\nOY* if iv Ift voipiov V7T0 crx pirxXxoetv.\\nZvvijKxg vifiav tx Xclfcxvx tqv ttoXiv,\\nIII?] rm (riXtvav ^.xy/j^i^t utrvt^ IcSjk/mj.\\nAxyco$ T($ ii rzXviXvB- zvQvs vjP7TXKxg.\\nUip^ix-x T q k%\\\\yiv -Axi v*i A/ kx. srt\\nEf\u00c2\u00bb e)l vfA,xg Soe Tretoptsvyv id tv.\\nTov fyvixov oivov lz3-ililipc/)xx 7roXy.\\nAt hen. Deip. lib. vi.\\nThus in the version of Dalechampius\\nA. Talis istic lex est, o vir optime,\\nCorinthiis si quern obsonantem semper\\nSplendidius aspexerint, ilium ul interrogent\\nUnde vivat, quidnam agat quod si facilitates Hit sunt", "height": "3928", "width": "2364", "jp2-path": "essayonprinciple00wood_0193.jp2"}, "194": {"fulltext": "174 PRINCIPLES OP CHAP. VI.\\nrary world owes to that ingenious writer a\\nvery high obligation for his excellent view\\nof the progress of the dramatic art among\\nthe Greeks, and for the collection he has\\nQuartern ad eum sumptum reditus sufficiat,\\nEo vitce luxu permittunt frui\\nSin amplius tmpendat quam pro re sua,\\njVe id porrofaciat inferdicitur.\\nSi non pareat, mulcta quidem plectitur.\\nSi sumptuose vivit qui nihil prorsus habet 3\\nTraditur puniendus carnifici. B. Proh Hercules*\\nA. Quod enim scias, fieri minime potest\\nUt qui eo est ingenio, non vivat improbe itaque necessum\\nYel noctu grassantem obvios spoliare, vel effractariuvi pa-\\nrietem sujfodere,\\nVel his sefuribus adjungere socium,\\nAid delatorem et quadruplatorem esse inforo autfalsum\\nTeslari a talium hominum genere purgatur civitas.\\nB. Becte, per Jovem sed ad me quid hoc attinet\\nA. Nos te videmus obsonantem quotidie\\nHaud mediocriter, vir optime, sedfastuose, et magnifice,\\nNe pisciculum quidem habere licet caussa tua\\nCives nostros commisisti, pugnaturos de oleribus", "height": "3928", "width": "2388", "jp2-path": "essayonprinciple00wood_0194.jp2"}, "195": {"fulltext": "CHAP. VI. TRANSLATION. 175\\nmade of the remains of more than fifty of\\ntheir comic poets\\nDe apio dimicamus tanquam in Isthmiis,\\nSi lepus accessit, eum extemplo rapis.\\nPerdicem, ac turdum ne volantem quidem\\nPropter vos ita me Jupiter amet, nobis jam videre licel s\\nPeregrini multum auxistis vini pretium.\\nThe greater part of the fragments translated by Mr\\nCumberland, are to be found in two separate works of Gro-\\ntius, viz. Excerpta ex Tragcediis et Commoediis Grcecis, Paris,\\n1626, 4to; and Dicta Poetarum quce apud Stobozum extant;\\nParis, 1623, 4to.", "height": "3920", "width": "2376", "jp2-path": "essayonprinciple00wood_0195.jp2"}, "196": {"fulltext": "", "height": "3956", "width": "2360", "jp2-path": "essayonprinciple00wood_0196.jp2"}, "197": {"fulltext": "CHAP. VII, TRANSLATION. 177\\nCHAR VII.\\nLimitation of the Rule regarding the Imita-\\ntion of Style, This Imitation must be re-\\ngulated by the Genius of Languages,\\nThe Latin admits of a greater Brevity of\\nExpression than the English As does\\nthe French. The Latin and Greek allow\\ngreater Inversions than the English, And\\nadmit more freely of Ellipsis.\\n1 he rule which enjoins to a translator the\\nimitation of the style of the original author,\\ndemands several limitations.\\n1. This imitation must always be regula-\\nted by the nature of the genius of the lan-\\nguages of the original and of the transla-\\ntion.\\nM", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0197.jp2"}, "198": {"fulltext": "178 PRINCIPLES OF CHAP. VII.\\nThe Greek language, from the frequency\\nand familiarity of ellipsis, allows a concise-\\nness of expression which is scarcely attain-\\nable in any other tongue, and perhaps least\\nof all in the English.\\nO [ktv p big oei, zee) big J\u00c2\u00ab o^yitoy/ivog, in o\\\\\\nzcii etc zcli ore, kcu ogov yg vov, Iffcttveirut.\\nAristot.\\nTo render this faithfully into English, it is\\nimpossible to use fewer words than the fol-\\nlowing He is to be commended, who is\\nangry with those persons whom he ought\\nto be angry with, and who is angry in such\\na manner, and at such proper time, and\\nonly for so long a time, as the cause and\\noccasion justify.\\nThe Latin language, too, though in an in-\\nferior degree to the Greek, admits of a bre-\\nvity, which cannot be successfully imitated\\nin the English.\\nCicero thus writes to Trebatius, (Lib. 7,\\nep. 17.)", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0198.jp2"}, "199": {"fulltext": "CHAP. VII. TRANSLATION. 179\\nIn Britanniam te projection non esse gau-\\ndeo, quod et tu labore caruisti, et ego te de\\nrebus ill is non audiam.\\nIt is impossible to translate this into Eng-\\nlish with equal brevity, and at the same time\\ndo complete justice to the sentiment. Mel-\\nmoth, therefore, has shewn great judgment,\\nin sacrificing the imitation of style to the\\nperfect transfusion of the sense. I am\\nu glad, for my sake as well as yours, that\\nyou did not attend Caesar into Britain\\nas it has not only saved you the fatigue of\\na very disagreeable journey, but me like-\\nwise that of being the perpetual auditor\\nof your wonderful exploits. Melm. Cic.\\nLett. b. 2. 12.\\nPliny to Minutianus, Lib. 3. Ep. 9. says,\\ntowards the end of his letter Temere dixi\\nSucc urrit quod prater ier am et quidem se-\\nro: sed quanquam prcepostere reddetur. Tacit\\nhoc Homer us v multique illius exemplo. Est\\nalioqui per decorum a me tamen non ideo\\nfiet. It is no doubt possible to translate\\nthis passage into English with a conciseness\\nm2", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0199.jp2"}, "200": {"fulltext": "180\\nPRINCIPLES OF CHAP. VII-\\nalmost equal to the original but in this ex-\\nperiment we must sacrifice all its ease and\\nspirit. I have said this rashly I recol-\\nlect an omission somewhat too late in-\\ndeed. It shall now be supplied, though\\na little preposterously. Homer does this\\nand many after his example. Besides, it\\nis not unbecoming but this is not my\\nreason. Let us mark how Mr Mel-\\nmoth, by a happy amplification, has preser-\\nved the spirit and ease, though sacrificing\\nthe brevity of the original. But upon re-\\ncollection, I find that I must recal that\\nlast word for I perceive, a little too late\\nindeed, that I have omitted a material\\nu circumstance. However, I will mention\\nit here, though something out of its place.\\nIn this, I have the authority of Homer,\\nand several other great names, to keep\\nme in countenance and the critics will\\ntell you this irregular manner has its\\nbeauties but, upon my word, it is a beau-\\nc ty I had not at all in my view.\\nAn example of a similar brevity of ex-\\npression, which admits of no imitation in", "height": "3932", "width": "2364", "jp2-path": "essayonprinciple00wood_0200.jp2"}, "201": {"fulltext": "CHAP. VII* TRANSLATION* 181\\nEnglish, occurs in another letter of Cicero\\nto Trebatius, (Ep. I 7. 14.)\\nChrysippus Vettius, Cyri architecti libertus,\\nfecit, ut te non immemorem putarem meu\\nValde jam lautus es qui gravere literas ad\\nme dare, homine prasertim domes tico. Quod\\nsi scribere oblitus es, minus multijam te ad^\\nvocaio causa cadent. Sin nostri oblitus es,\\ndabo operam tit istkuc venia?n i ant equam pla-\\nne ex animo tuo effluo.\\nIn translating this passage, Mr Melmoth\\nhas shewn equal judgment. Without at-\\ntempting to imitate the brevity of the origi-\\nnal, which he knew to be impossible, he\\nsaw, that the characterising features of the\\npassage were ease and vivacity and these\\nhe has very happily transfused into his\\ntranslation.\\nIf it were not for the compliments you\\nsent me by Chrysippus, the freedman of\\nCyrus the architect, I should have imagi-\\nned I no longer possessed a place in your\\nthoughts. But surely you are become a\\nm 3", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0201.jp2"}, "202": {"fulltext": "182 PRINCIPLES OF CHAP. VII.\\nmost intolerable fine gentleman, that you\\ncould not bear the fatigue of writing to\\nme, when you had the opportunity of do-\\ning so by a man, whom, you know, I look\\nupon as one almost of my own family.\\nPerhaps, however, you may have forgot-\\nten the use of your pen and so much\\nthe better, let me tell you, for your clients,\\nas they will lose no more causes by its\\nblunders. But if it is myself only that\\nhas escaped your remembrance, I must\\nendeavour to refresh it by a visit, before\\nI am worn out of your memory, beyond\\nall power of recollection.\\nNumberless instances of a similar exer-\\ncise of judgment and of good taste are to be\\nfound in Mr Murphy s excellent translation\\nof Tacitus. After the death of Germanicus,\\npoisoned, as was suspected, by Piso, with\\nthe tacit approbation of Tiberius, the public\\nloudly demanded justice against the suppo-\\nsed murderer, and the cause was solemnly\\ntried in the Roman Senate. Piso, foresee-\\ning a judgment against him, chose to anti-\\ncipate his fate by a voluntary death. The", "height": "3932", "width": "2364", "jp2-path": "essayonprinciple00wood_0202.jp2"}, "203": {"fulltext": "CHAP. VII. TRANSLATION. 183\\nSenate decreed, that his family name should\\nbe abolished for ever, and that his brother\\nMarcus should be banished from his coun-\\ntry for ten years but in deference to the\\nsolicitations of the Empress, they granted a\\nfree pardon to Plancina, his widow. Taci-\\ntus proceeds to relate, that this sentence of\\nthe Senate was altered by Tiberius Malta\\nex ea sententia miiigata sunt a principe\\nne nomen Pisonis fastis eximeretur, quando\\nM. Antonii, qui helium patria fecisset,\\nJulii Antonii, qui domum Augusti violas-\\nset, manerent et M. Pisonem ignominice\\nexemit, concessitque ei paterna bona sa-\\ntis jirmus, ut scepe memoravi, adversus pe-\\ncuniam et turn pudore absolutce Plancina\\nplacabilior. At que idem cum Valerius Mes-\\nsaliiras signum aureum in ade Martis Ultoris,\\nCacina Severus aram idtioni statuendam cen-\\nsuissent, prohibuit ob externas ea victorias\\nsacrari dictitans, domestica mala tristitia ope*\\nrienda. An. 1. 3. c. 18*\\nThus necessarily amplified, and translated\\nwith the ease of original composition, by\\nMr Murphy\\nM 4", "height": "3916", "width": "2392", "jp2-path": "essayonprinciple00wood_0203.jp2"}, "204": {"fulltext": "184\\nPRINCIPLES OF CHAP. VII*\\nThis sentence, in many particulars,\\nwas mitigated by Tiberius. The family\\nname, he said, ought not to be abolished,\\nwhile that of Mark Antony, who appear-\\ned in arms against his country, as well\\nas that of Julius Antonius, who by his in-\\ntrigues dishonoured the house of Augus-\\ntus, subsisted still, and figured in the Ro-\\nman annals. Marcus Piso was left in\\npossession of his civil dignities, and his\\nfather s fortune. Avarice, as has been\\nu already observed, was not the passion of\\nTiberius. On this occasion, the disgrace\\nincurred by the partiality shown to Plan-\\ncina, softened his temper, and made him\\nthe more willing to extend his mercy to\\nthe son. Valerius Messalinus moved,\\nthat a golden statue might be erected in\\nthe temple of Mars the Avenger. An\\naltar to Vengeance was proposed by Cae-\\ncina Severus. Both these motions were\\nover-ruled by the Emperor. The prin-\\nciple on which he argued, was, that public\\nmonuments, however proper in cases of\\nforeign conquest, were not suited to the\\npresent juncture. Domestic calamity\\nu\\na", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0204.jp2"}, "205": {"fulltext": "CHAP. VII. TRANSLATION* 185\\nshould be lamented, and as soon as pos-\\nsible consigned to oblivion.\\nThe conclusion of the same chapter af-\\nfords an example yet more striking of the\\nsame necessary and happy amplification by\\nthe translator.\\nAddiderat Messalinus, Tiberio et Augus-\\nta, et Antonia, et Agrippince, Drusoque, ob\\nvindictam Germanici grates agendas, omise-\\nratque Claudii mentionem et Messalinum\\nquidem L. Aspernas senatu coram percuncta-\\ntus est, an prudens prceterisset Ac turn de-\\nmum nomen Claudii adscriptum est. Mihi\\nquanto plura recentium, sen veterum revolvo,\\ntanto magis ludibria rerum mortalium cunctis\\nin negotiis obversantur quippe fama, spe,\\nveneratione potius omnes destinahantur im-\\nperio, quam quern f ut urum principem fortuna\\nin occulto tenebat.\\nMessalinus added to his motion a vote\\nof thanks to Tiberius and Livia, to An-\\ntonia, Agrippina, and Drusus, for their\\nzeal in bringing to justice the enemies of", "height": "3920", "width": "2388", "jp2-path": "essayonprinciple00wood_0205.jp2"}, "206": {"fulltext": "186 PRINCIPLES OF CHAP. VII.\\nGermanicus. The name of Claudius was\\nnot mentioned. Lucius Asperanus desired\\nto know, whether that omission was intend-\\ned. The consequence was, that Claudius\\nwas inserted in the vote. Upon an occasion\\nlike this, it is impossible not to pause for\\na moment, to make a reflection that na-\\nturally rises out of the subject. When\\nwe review what has been doing in the\\nworld, is it not evident, that in all trans-\\nactions, whether of ancient or of modern\\ndate, some strange caprice of fortune turns\\nall human wisdom to a jest In the juno\\nture before us, Claudius figured so little\\non the stage of public business, that there\\nwas scarce a man in Rome, who did not\\nseem, by the voice of fame and the wish-\\nes of the people, designed for the sove-\\nreign power, rather than the very person,\\nwhom fate, in that instant, cherished in\\nobscurity, to make him, at a future pe-\\nriod, master of the Roman world.\\nSo likewise in the following passage, we\\nmust admire the judgment of the translator\\nin forbearing all attempt to rival the bre-", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0206.jp2"}, "207": {"fulltext": "CHAP. VII. TRANSLATION. 187\\nvity of the original, since he knew it could\\nnot be attained but with the sacrifice both\\nof ease and perspicuity\\nIs finis fuit ulciscenda Germanici ?norte,\\n?io?i 7nodo apnd illos komims qui tii7nagebani,\\netia7n secutis tetnporibus vario 7m?7iore jac-\\ntata adeo maxima quceque ambigua stmt,\\ndum alii quoquo modo audita pro co77iper-\\ntis habent alii vera in contrarium vertunt\\net gliscit atrwnque posteritate. An. 1. 3.\\nc. 19.\\nIn this manner ended the inquiry con-\\ncerning the death of Germanicus a sub-\\nject which has been variously represent-\\ned, not only by men of that day, but by\\nall subsequent writers. It remains, to\\nthis hour, the problem of history. A\\ncloud for ever hangs over the most im-\\nportant transactions while, on the one\\nhand, credulity adopts for fact the report\\nof the day and, on the other, politicians\\nwarp and disguise the truth between\\nThere is a slight impropriety of language in Opposing\\nabstract term,, credulity to politicians; even allowing that", "height": "3928", "width": "2376", "jp2-path": "essayonprinciple00wood_0207.jp2"}, "208": {"fulltext": "188 PRINCIPLES OF CHAP. VII-\\nboth parties two different accounts go\\ndown from age to age, and gain strength\\nwith posterity.\\nIn the same parallel with Melmoth and\\nwith Murphy, as possessing a masterly skill\\nin the true principles of the art, must be\\nranked the ingenious translator of Sallust\\nwhose elaborate work, the version of a\\nmost difficult author, into easy, pure, cor-\\nrect, and often most eloquent language, has\\njustly entitled him to a high rank among\\nthe English translators from the classics.\\nObserving in general a very strict fidelity to\\nthe sense of his original, he saw at once\\nthe former is a personification for simple and figurative ex-\\npression do not happily combine.\\nHenry Steuart, Esq; of Allantoic a Scottish gentleman\\nof ancient family, who most laudably employs his leisure in the\\nelegant and manly pursuits of classical science and polite\\nletters, The translation of Sallust is printed for Messrs\\nBaldwin, in 2 vols. 4to, 1806. The accompanying essays\\non the life and writings of the historian, with the historical\\nand critical notes, contain altogether a great store of ingc*\\nnious criticism and classical information.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0208.jp2"}, "209": {"fulltext": "CHAP. VII. TRANSLATION. 189\\nthe fruitlessness of any attempt to imitate\\nthe abrupt and sententious manner, toge-\\nther with those other prominent characte-\\nristics of the style of Sallust, which, al-\\nthough the natural partiality to his author\\nhas led him to vindicate and even to pane-\\ngyrise, he well knew the utter impossibility\\nof transferring to a language widely diffe-\\nrent in its structure and idioms from that\\nof the original. This attempt, therefore,\\nhe has with great judgment altogether aban-\\ndoned limiting himself to the correct ex-\\npression of the sense of his author, in pure\\nand eloquent language, possessing all the\\nease of original composition.\\nMr Steuart s translation of the following\\npassage appears to me to be executed with\\nsingular felicity At populo Romano nun-\\nquam ea copia fuit quia prudentissimus\\nquisque negotiosus maxime erat. Ingenium\\nnemo sine cor pore exercebat optimus quisque\\nfacere quam dicere, et sua ab aliis bene/acta\\nlaudari, quam ipse aliorum narrare malebat.\\nIgitur domi miUtiaque boni mores colebantur.\\nConcordia maxima, minima avaritia erat jus", "height": "3920", "width": "2388", "jp2-path": "essayonprinciple00wood_0209.jp2"}, "210": {"fulltext": "190 PRINCIPLES OF CHAP. VII,\\nbonumque apud eos non legibus magis quam\\nnatiira valebat jurgia, discordias, iras, si-\\nmilitates cum hostihus exercebant cives cum\\ncivibus de virtute certabani. In suppliciis\\nDeorum magnijici^ domi parci, in amicos ji-\\ndeles erant. Duabus *his artibus audacia in\\nhello, ubi pax evenerat? aq-uitate, seque rem-\\nque publicum curahant.\\nAmong the Romans, the same advan-\\ntages have not been enjoyed. Here few\\nwriters arose during the early ages. The\\nmost busy scenes constantly called forth\\nthe brightest talents and even the di-\\nstinctions were long unknown, that se-\\nparate active from speculative life. To\\nact, rather than to write or speak, was\\nthen the practice. The Roman of other\\ntimes preferred the glory of deeds which\\nhe himself should achieve, to that of\\nrecounting and embellishing the achieve-\\nments of other men. Thus at home and\\nabroad the Roman manners were adorn-\\ned with a virtuous simplicity. The voice of\\ndissention and the suggestions of avarice,\\nwere never heard. .Justice and equity", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0210.jp2"}, "211": {"fulltext": "CHAP. VII. TRANSLATION. 191\\nu were then the dictates of nature and the\\noffspring of sentiment the terrors of the\\nlaw were seldom necessary to enforce\\nthem. Rancour, animosity and fierce\\ncontention, our forefathers reserved for\\nthe enemies of their country. Among\\nthemselves, it was the struggle of citizens\\nfor the palm of superior excellence. In\\ntheir offerings to the Gods, they obser-\\nved a pious magnificence in their own\\nhabitations a modest frugality to their\\nfriends a fidelity which was unshaken and\\ninviolable. Their maxims were few and\\nsimple valour in war, and in peace equi-\\nty and moderation, formed the leading\\nprinciples of their conduct. By means\\nof these they maintained the honour of\\n6i the republic, by communicating to it the\\nenergy of their own character.\\nIn the original of this passage, a brief\\nand sententious antithesis runs through the\\nwhole evidently the effect of art and study,\\nand therefore unpleasant from the sense of\\nthe labour which the author has bestowed\\nupon it. The translator has with much", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0211.jp2"}, "212": {"fulltext": "192 PRINCIPLES OF CHAP. VII.\\njudgment refrained from all imitation of this\\nabrupt and disjointed sententiousness; while\\nin correct and eloquent language he has gi-\\nven the full meaning, with more ease than\\nbelongs to his original. In proof of the\\nabove remark, let the reader attend particu-\\nlarly to the version of Ingeniimi nemo sine\\ncor pore exercebat -jurgia, discord ias, iras,\\nsimultates cam hostibus exercebant cives cum\\ncivibus de virtute certabant.\\nIn his version of the following passage,\\nthe translator has evinced the same ability,\\nwith* an equal degree of good taste, in hap-\\npily amplifying, without adding to the\\nthought of his author, where it was impos-\\nsible to do justice to the original by any imi-\\ntation of its compressed and antithetical\\nbrevity.\\nSed primo ?nagis ambit io quam avaritia\\nammos hominum exercebat, quod tamen vitium\\npropius virtutem erat* Nam gloriam, hono-\\nrem, imperium, bonus et ignavus ceque sibi\\nexoptant. Sed ille vera nititur via huic\\nquia bonce artes desunt, dolis at que fallacm", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0212.jp2"}, "213": {"fulltext": "CHAP. VII. TRANSLATION. 193\\ncontendit. Avaritia pecuniae stadium habet^\\nquam nemo sapiens concupivit ea quasi ve-\\nneris mails imbuta, corpus virile animmnque\\neffaminat. Semper injinita, insatiabilis est,\\nneque copid neqne inopid minuitur.\\nJm the first stages of corruption, it was\\nambition, and not avarice, that laid the\\nstrongest hold on the minds of men\\nand this in the order of things was natu-\\nrally to be expected. Ambition, being of\\nthe two, more a -kin to virtue, its indul-\\ngence may admit of a specious apology.\\nThe heights of power, and the prize of\\nglory or honour, alike stimulate the good\\nand the worthless. But the former pur-\\nsue the straight xoad to their object the\\nlatter, being strangers to every honourable\\nfeeling, turn aside into the paths of arti-\\nfice and fraud. Avarice, on the other\\nhand, sets its affection on riches, a pos-\\nsession that no wise man ever immode-\\nrately coveted. In avarice there is a sor-\\ndid principle, from which ambition is ex-\\nempt. It possesses, so to speak, the most\\npoisonous qualities of power not only\\nN", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0213.jp2"}, "214": {"fulltext": "194 PRINCIPLES OP CHAP. VII.\\nto effeminate the body, but to depress\\nthe faculties of the soul. It is a flame\\nthat unceasingly burns; and whether it\\nbe fed by plenty or starved by want, con-\\ntinues equally unquenchable.\\nIf I have said less in praise of this ex-\\ncellent translation of a most difficult clas-\\nsic author than its uncommon merits\\njustly call for, the ingenious author has\\nhimself in some measure to blame for the\\nreserve which he compels me to maintain,\\nin speaking of a work in which he has ho-\\nnoured this Essay with unbounded enco-\\nmium.\\nThe French language admits of a brevity\\nof expression more corresponding to that\\nof the Latin and of this D Alembert has\\ngiven many happy examples in his transla-\\ntions from Tacitus.\\nQuod si vita suppeditet, principatum divi\\nNervce et imperium Trajani, uberiorem, se~\\ncurioremque materiam scnectuti seposui vara\\ntemporum felicitate, ubi sentire quce velis 9 et", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0214.jp2"}, "215": {"fulltext": "CHAP. VII. TRANSLATION. 195\\nquce sentias dicer e licet. Praef. ad Hist. Si\\nles dieux m accordent des jours, je de~\\nstine a l occupation et a la consolation\\nde ma vieillesse, l histoire interessante et\\ntranquille de Nerva et de Trajan terns\\nheureux et rares, ou Ton est libre de pen-\\nser et de parler.\\nAnd with equal, perhaps superior felicity,\\nthe same passage is thus translated by\\nRousseau Que s il me reste assez de\\nvie, je reserve pour ma vieillesse la riche\\net paisible matiere des regnes de Nerva\\net de Trajan rares et heureux terns, oil\\nTon peut penser librement, et dire ce\\nque Ton pense.\\nBut D Alembert, from too earnest a de-\\nsire to imitate the conciseness of his ori-\\nginal, has sometimes left the sense imper-\\nfect. Of this an example occurs in the pas-\\nsage before quoted, An. 1. 1. c. Cum c 2-\\nteri nobilium, quanto quis servitio promptior,\\nopibus et honoribus extollerentur the trans-\\nlator, too studious of brevity, has not given\\nthe complete idea of his author, Le reste\\nn 2", "height": "3932", "width": "2364", "jp2-path": "essayonprinciple00wood_0215.jp2"}, "216": {"fulltext": "196 PRINCIPLES OF CHAP. VII.\\ndes nobles trouvoit dans les richesses et\\ndans les honneurs, la recompense de i es-\\nclavage. This does not convey the sense\\nof the original, that riches and honours\\nM were bestowed on the courtiers, in pro-\\n41 portion to their degree* of servility. Om-\\nnium consensu capaoc imperii nisi imperiisset\\nTac hist. 1. 49. Digne de Tempire au\\njugement de tout le monde, tant qu il ne\\nregna pas. This is not the idea of the\\nauthor for Tacitus does not mean to say\\nthat Galba was judged worthy of the em-\\npire till he attained to it but that all the\\nworld would have thought him worthy of\\nthe empire if he had never attained to it.\\n2. The Latin and Greek languages ad-\\nmit of inversions which are inconsistent with\\nthe genius of the English\\nMr Gordon, injudiciously aiming at an\\nimitation of the Latin construction, has gi^-\\nven a barbarous air to his translation of\\nTacitus: To Pallas, who was by Claudius\\ndeclared to be the deviser of this scheme,\\nthe ornaments of the praetorship, and", "height": "3932", "width": "2436", "jp2-path": "essayonprinciple00wood_0216.jp2"}, "217": {"fulltext": "CHAP. VII. TRANSLATION. 197\\nthree hundred seventy-five thousand\\ncrowns, were adjudged by Bareas Soranus\\nconsul designed, An. L 12. Still to\\nbe seen are the Roman standards in the\\nGerman groves, there, by me, hung up,\\nAn. lib. 1. Naturally violent was the spi-\\nrit of Arminius, and now, by the capti-\\nvity of his wife, and by the fate of his\\nchild, doomed to bondage though yet un-\\nborn, enraged even to distraction. Ibid*\\nBut he, the more ardent he found the aft\\nu fetions of the soldiers, and the greater the\\nhatred of his uncle, so much the more\\nintent upon a decisive victory, weighed\\nwith himself all the methods, c. lb,\\nlib. 2.\\nThus, Mr Macpherson, in his translation\\nof Homer, (a work otherwise valuable, as\\ncontaining for the most part a faithful trans-\\nfusion of the sense of his author), has ge-\\nnerally adopted an inverted construction,\\nwhich is incompatible with the genius of the\\nEnglish language. Tlepolemus, the race\\nof Hercules, brave in battle and great in\\narms, nine ships led to Troy, with mag-?\\nn3", "height": "3928", "width": "2364", "jp2-path": "essayonprinciple00wood_0217.jp2"}, "218": {"fulltext": "198 PRINCIPLES OF CHAP. VII.\\nnanimous Rhodians filled. Those who\\ndwelt in Rhodes, distinguished in nations\\nthree, who held Lindus, Ialyssus, and\\nwhite Camirus, beheld him afar. Their\\nleader in arms was Tlepolemus, renown-\\ned at the spear, II. L 2. The heroes the\\nslaughter began. Alexander first a war-\\nrior slew Through the neck, by the helm\\npassed the steel. Iphinous, the son of\\nDexius, through the shoulder he pierced\\n\u00e2\u0080\u0094to the earth fell the chief in his blood,\\nlb. L 7. Not unjustly we Hector admire;\\nmatchless at launching the spear to\\nbreak the line of battle, bold, lb. I. 5.\\nNor for vows unpaid rages Apollo nor\\nsolemn sacrifice denied. lb. L 1.\\n3. The English language is not incapable\\nof an elliptical mode of expression but it\\ndoes not admit of it to the same degree as\\nthe Latin. Tacitus says, Trepida civitas in-\\ncusare liberium, for trepida civitas incepit\\nincusare Tiberium. We cannot say in Eng-\\nlish, The terrified city to blame Tibe-\\nrius And even as Gordon has transla-\\nted these words, the ellipsis is too violent", "height": "3952", "width": "2452", "jp2-path": "essayonprinciple00wood_0218.jp2"}, "219": {"fulltext": "\u00e2\u0082\u00acHAP. VII. TRANSLATION. 199\\nfor the English language hence against\\nTiberius many complaints.\\nII. lib. 1. L 53.\\nFor nine days the arrows of the god\\nwere darted through the army. The\\nelliptical brevity of Mr Macpherson s trans-\\nlation of this verse, has no parallel in the\\noriginal nor is it agreeable to the English\\nidiom\\nNine clays rush the shafts of the God.\\nn4", "height": "3900", "width": "2308", "jp2-path": "essayonprinciple00wood_0219.jp2"}, "220": {"fulltext": "", "height": "3932", "width": "2444", "jp2-path": "essayonprinciple00wood_0220.jp2"}, "221": {"fulltext": "CHAP. VIII. TRANSLATION. 201\\nCHAPTER VIII.\\nWhether a Poem can be well translated into\\nVrose.\\nT rom all the preceding observations re-\\nspecting the imitation of style, we may de-\\nrive this precept, That a translator ought\\nalways to figure to himself, in what man-\\nner the original author would have expres-\\nsed himself, if he had written in the lan-\\nguage of the translation.\\nThis precept leads to the examination,\\nand probably to the decision, of a question\\nwhich has admitted of some dispute, Whe-\\nther a poem can be well translated into\\nprose", "height": "3932", "width": "2360", "jp2-path": "essayonprinciple00wood_0221.jp2"}, "222": {"fulltext": "202 PRINCIPLES OF CHAP. VIII.\\nThere are certain species of poetry, of\\nwhich the chief merit consists in the sweet-\\nness and melody of the versification. Of\\nthese it is evident, that the very essence\\nmust perish in translating them into prose.\\nWhat should we find in the following beau-\\ntiful lines, when divested of the melody of\\nverse\\nShe said, and melting as in tears she lay,\\nIn a soft silver stream dissolved away.\\nThe silver stream her virgin coldness keeps,\\nFor ever murmurs, and for ever weeps\\nStill bears the name the hapless virgin bore,\\nAnd bathes the forest where she rang d before.\\nPope s Windsor Forest.\\nBut a great deal of the beauty of every\\nregular poem, consists in the melody of its\\nnumbers. Sensible of this truth, many of\\nthe prose translators of poetry, have attempt-\\ned to give a sort of measure to their prose,\\nwhich removes it from the nature of ordi-\\nnary language. If this measure is uniform,\\nand its return regular, the composition is\\nno longer prose, but blank-verse. If it is\\nriot uniform, and does not regularly return", "height": "3948", "width": "2452", "jp2-path": "essayonprinciple00wood_0222.jp2"}, "223": {"fulltext": "CHAP. VIII. TRANSLATION. 203\\nupon the ear, the composition will be more\\nunharmonious, than if the measure had been\\nentirely neglected. Of this, Mr Macpher-\\nson s translation of the Iliad is a strong ex-\\nample.\\nBut it is not only by the measure that\\npoetry is distinguishable from prose. It is\\nby the character of its thoughts and senti-\\nments, and by the nature of that language\\nin which they are clothed A boldness of\\nfigures, a luxuriancy of imagery, a frequent\\nuse of metaphors, a quickness of transition,\\na liberty of digressing all these are not\\nonly allozcable in poetry, but to many spe-\\ncies of it, essential. But they are quite un-\\nsuitable to the character of prose. When\\nseen in a prose translation, they appear pre-\\nposterous and out of place, because they\\nare never found in an original pilose compo-\\nsition.\\nC est en quoi consiste le grand art de la Poesie, de dire\\nf* figurement presque tout ce qu elle dit. Rapin Reflex, sur la\\nPoetique en general, 29.", "height": "3920", "width": "2376", "jp2-path": "essayonprinciple00wood_0223.jp2"}, "224": {"fulltext": "204 PRINCIPLES OF CHAP. VIII.\\nIn opposition to these remarks, it may\\nbe urged, that there are examples of poems\\noriginally composed in prose, as Fenelon s\\nTelemachus. But to this we answer, that\\nFenelon, in composing his Telemachus, has\\njudiciously adopted nothing more of the cha-\\nracteristics of poetry than what might safely\\nbe given to a prose composition. His good\\ntaste prescribed to him certain limits, which\\nhe was under no necessity of transgressing.\\nBut a translator is not left to a similar free-\\ndom of judgment he must follow the foot-\\nsteps of his original. Fenelon s Epic Poem\\nis of a very different character from the\\nIliad, the iEneid, or the Gerusalemme Li-\\nberata. The French author has, in the con-\\nduct of his fable, seldom transgressed the\\nbounds of historic probability he has spa-\\nringly indulged himself in the use of the Epic\\nmachinery and there is a chastity and so-\\nbriety even in his language, very different\\nfrom the glowing enthusiasm that characteri-\\nzes the diction of the poems we have men-\\ntioned We find nothing in the Telemaque,\\nof the Os magna sonaturum.", "height": "3932", "width": "2452", "jp2-path": "essayonprinciple00wood_0224.jp2"}, "225": {"fulltext": "CHAP. VIII. TRANSLATION. 205\\nThe difficulty of translating poetry into\\nprose, is different in its degree, according to\\nthe nature or species of the poem. Didac-\\ntic poetry, of which the principal merit con-\\nsists in the detail of a regular system, or in\\nrational precepts which flow from each other\\nin a connected train of thought, will evident-\\nly suffer least by being transfused into prose.\\nBut every didactic poet judiciously en-\\nriches his work with such ornaments as are\\nnot strictly attached to his subject. In a\\nprose translation of such a poem, all that is\\nstrictly systematic or preceptive may be\\ntransfused with propriety all the rest,\\nwhich belongs to embellishment, will be\\nfound impertinent and out of place. Of\\nthis we have a convincing proof in Dryden s\\ntranslation of the valuable poem of Du\\nFresnoy, De Arte Graphica. The didactic\\nparts of the poem are translated with be-\\ncoming propriety but in the midst of those\\npractical instructions in the art of painting,\\nhow preposterous appear in prose such pas-\\nsages as the following", "height": "3924", "width": "2364", "jp2-path": "essayonprinciple00wood_0225.jp2"}, "226": {"fulltext": "\u00c2\u00a306 PRINCIPLES OF CHAP. VIII.\\nThose things which the poets have\\nthought unworthy of their pens, the paint-\\ners have judged to be unworthy of their\\npencils* For both those arts, that they\\nmight advance the sacred honours of re*\\nligion, have raised themselves to heaven\\nand having found a free admission into the\\npalace of Jove himself, have enjoyed the\\nsight and conversation of the Gods, whose\\nawful majesty they observe, and whose\\ndictates they communicate to mankind,\\nwhom, at the same time, they inspire with\\nthose celestial flames which shine so glo-\\nriously in their works.\\nBesides all this, you are to express the\\nmotions of the spirits, and the affections\\nor passions, whose centre is the heart.\\nThis is that in which the greatest difficul-\\nty consists. Few there are whom Jupi-\\nter regards with a favourable eye in this\\nundertaking.\\nu\\nAnd as this part, (the Art of Colour-\\ning), which we may call the utmost per-\\nfection of Painting, is a deceiving beauty,", "height": "3932", "width": "2452", "jp2-path": "essayonprinciple00wood_0226.jp2"}, "227": {"fulltext": "CHAP. VIII. TRANSLATION. 20?\\nbut withal soothing and pleasing so she\\nhas been accused of procuring lovers for\\nher sister (Design), and artfully engaging\\nus to admire her.\\nBut there are certain species of poetry,\\nof the merits of which it will be found\\nimpossible to convey the smallest idea in a\\nprose translation. Such is Lyric poetry,\\nwhere a greater degree of irregularity of\\nthought, and a more unrestained exuberance\\nof fancy, is allowable than in any other spe-\\ncies of composition. To attempt, therefore,\\na translation of a lyric poem into prose, is\\nthe most absurd of all undertakings for\\nthose very characters of the original which\\nare essential to it, and which constitute its\\nhighest beauties, if transferred to a prose\\ntranslation, become unpardonable blemish-\\nes. The excursive range of the sentiments,\\nand the play of fancy, which we admire in\\nthe original, degenerate in the translation\\ninto mere raving and impertinence. Of\\nthis the translation of Horace in prose, by\\nSmart, furnishes proofs in every page.", "height": "3924", "width": "2364", "jp2-path": "essayonprinciple00wood_0227.jp2"}, "228": {"fulltext": "208 PRINCIPLES OF CHAP. VIII.\\nWe may certainly, from the foregoing\\nobservations, conclude, that it is impossible\\nto do complete justice to any species of poe-\\ntical composition in a prose translation in\\nother words, that none but a poet can trans-\\nlate a poet.", "height": "3952", "width": "2452", "jp2-path": "essayonprinciple00wood_0228.jp2"}, "229": {"fulltext": "CHAP. IX. TRANSLATION. 209\\nCHAPTER IX.\\nThird General Hide A Translation should\\nhave all the Ease of Original Composition*\\nExtreme difficulty in the observance of\\nthis Rule. Contrasted Instances of Suc-\\ncess and Failure. Of the Necessity of\\nsometimes sacrificing one Rule to another.\\nIt now remains, that we consider the third\\ngeneral law of Translation.\\nIn order that the merit of the original\\nwork may be so completely transfused as to\\nproduce its full effect, it is necessary, not\\nonly that the translation should contain a\\nperfect transcript of the sentiments of the\\noriginal, and present likewise a resemblance", "height": "3932", "width": "2364", "jp2-path": "essayonprinciple00wood_0229.jp2"}, "230": {"fulltext": "210 PRINCIPLES OF CHAP. IX.\\nof its style and manner but, That the trans-\\nlation should have all the ease of original\\ncomposition.\\nWhen we consider those restraints with-\\nin which a translator finds himself necessa-\\nrily confined, with regard to the sentiments\\nand manner of his original, it will soon\\nappear, that this last requisite includes the\\nmost difficult part of his task It is not\\nQuand il s agit de representer dans une autre langue\\nles choses, les pensees, les expressions, les tours, les tons\\nd un ouvrage les choses telles qu elles sont, sans rien ajou-\\n11 ter, ni retrancher, ni deplacer les pensees dans leurs cou-\\niC leurs, leurs degres, leurs nuances les tours, qui donnent le\\niC feu, l esprit, et la vie au discours les expressions natu-\\nrelies, flgurees, fortes, riches, gracieuses, dedicates, c. le\\ntout d apres un modele qui cammande durement, et qui\\nveut qu on lui obeisse d*un air aise il faut, sinon autant de\\ngenie, du moins autant de gout pour bien traduire, que pour\\ncomposer. Peutetre meme en faut il davantage. L auteur qui\\nc compose, conduit seulement par une sorte d instinct toujours\\nte libre, et par sa matiere qui lui presente des idees, qu il peut\\naccepter ou rejetter a. son gre, est maitre absolu de ses pen-\\nsees et de ses expressions si la pensee ne lui convient pas,\\n(i ou si l expressicn ne convient pas a la pensee, il peut rejetter,\\nf Vune et l autre quce desperat traciaia nilescere posse, rclin-", "height": "3952", "width": "2376", "jp2-path": "essayonprinciple00wood_0230.jp2"}, "231": {"fulltext": "CHAP. IX. TRANSLATION. 211\\neasy for one who walks in trammels, to ex-\\nhibit an air of grace and freedom. It is dif-\\nficult, even for a capital painter, to preserve\\nin a copy of a picture all the ease and spirit\\nof the original yet the painter employs pre-\\ncisely the same colours, and has no other\\ncare than faithfully to imitate the touch and\\nmanner of the picture that is before him. If\\nthe original is easy and graceful, the copy\\nwill have the same qualities, in proportion\\nas the imitation is just and perfect. The\\ntranslator s task is very different He uses\\nnot the same colours with the original, but\\nis required to give his picture the same force\\nand effect. He is not allowed to copy the\\ntouches of the original, yet is required, by\\no2\\nC(\\nquit. Le traducteur n est maitre de rien il est oblige de\\nw suivre partout son auteur, et de se plier a toutes ses varia-\\ntions avec une souplesse infinie. Qu on en juge par la va-\\nriete des tons qui se trouvent necessairement dans une\\nmeme sujet, et a plus forte raison dans un meme genre.\\nQuelle idee done ne doit-on pas avoir d une traduction faite\\n11 avec succes\\nBatteux, De la Construction Oratoire, Pan", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0231.jp2"}, "232": {"fulltext": "212 PRINCIPLES OF CHAP. IX.\\ntouches of his own, to produce a perfect re-\\nsemblance. The more he studies a scrupu-\\nlous imitation, the less his copy will reflect\\nthe ease and spirit of the original. How\\nthen shall a translator accomplish this diffi-\\ncult union of ease with fidelity To use a\\nbold expression, he must adopt the very\\nsoul of his author, which must speak through\\nhis own organs\\nThe following observations by Cowper, though loosely\\nthrown out, and a little deficient in precision of thought,\\ncontain much matter deserving of a translator s attention\\nThere are minutiae in every language, which, transfused in-\\nto another, will spoil the version. Such extreme fidelity\\nis in fact unfaithful. Such close resemblanee takes away\\nall likeness. The original is elegant, easy, natural the\\ncopy is clumsy, constrained, unnatural To what is this\\nowing To the adoption of terms not congenial to your\\npurpose, and of a context such as no man writing an ori-\\nte ginal work would make use of. Homer is every thing that\\nft a poet should be. A translation of Homer so made will\\nbe every thing a translation of Homer should not be. Be-\\ncause it will be written in no language under heaven. It\\nwill be English, and it will be Greek, and therefore it will\\nf be neither. He is the man, whoever he be, (I do not\\npretend to be that man myself,) he is the man best qua-\\nlifted as a translator of Homer, who has drenched, and\\nf c steeped, and soaked himself in the effusions of his genius^", "height": "3952", "width": "2376", "jp2-path": "essayonprinciple00wood_0232.jp2"}, "233": {"fulltext": "CHAP. IX. TRANSLATION. 213\\nLet us proceed to exemplify this third\\nrule of translation, which regards the attain-\\nment of ease of style, by instances both\\nof success and failure.\\no3\\ntill he has imbibed their colour to the bone, and who,\\nct when he is thus dyed through and through, distinguishing\\nbetween what is essentially Greek and what may be ha-\\nbited in English, rejects the former, and is faithful to the\\nlatter, as far as the purposes of fine poetry will permit,\\nc and no farther this, I think, may be easily proved. Ho-\\nmer is every where remarkable either for ease, dignity, or\\nenergy of expression for grandeur of conception, and a\\nmajestic flow of numbers. If we copy him so closely as\\nto make every one of these excellent properties of his ab-\\nsolutely unattainable, which will certainly be the effect of\\ne too close a copy, instead of translating, we murder him.\\nTherefore, after all******has said, I still hold freedom\\nc to be indispensible. Freedom I mean with respect to\\nthe expression; freedom so limited, as never to leave be-\\nhind the matter but at the same time indulged with a\\nic sufficient scope to secure the spirit, and as much as pos-\\nsible of the manner. I say as much as possible, because\\nan English manner must differ from a Greek one, in order\\nto be graceful, and for this there is no remedy. Can an\\nungraceful, awkward translation of Homer be a good one\\nNo but a graceful, easy, natural, faithful version of him,\\nwill not that be a good one? Yes Allow me but this, and\\n(e I insist upon it, that such a one may be produced on my\\nprinciples, and can be produced on no other.\\nCowper s Letters*", "height": "3932", "width": "2388", "jp2-path": "essayonprinciple00wood_0233.jp2"}, "234": {"fulltext": "214 PRINCIPLES OF CHAP. IX.\\nThe familiar style of epistolary corre-\\nspondence is rarely attainable even in ori-\\nginal composition. It consists in a delicate\\nmedium between the perfect freedom of or-\\ndinary conversation and the regularity of\\nwritten dissertation or narrative. It is ex-\\ntremely difficult to attain this delicate me-\\ndium in a translation because the writer\\nhas neither a freedom of choice in the sen-\\ntiments, nor in the mode of expressing\\nthem. Mr Melmoth appears to me to be\\na great model in this respect. His Trans-\\nlations of the Epistles of Cicero and of\\nPliny have all the ease of the originals,\\nwhile they present in general a very faith*\\nful transcript of his author s sense.\\nSurely, my friend r your couriers are a\\nset of the most unconscionable fellows.\\nNot that they have given me any parti-\\ncular offence; but as they never bring\\nme a letter when they arrive here, is it\\nfair j they should always press me for one\\nwhen they return Melmoth, Cic. Ep.\\n10. 20.", "height": "3932", "width": "2388", "jp2-path": "essayonprinciple00wood_0234.jp2"}, "235": {"fulltext": "CHAP. IX. TRANSLATION* 21 S\\nPraposteros hales tabellarios etsi me qui-\\ndem non offendunt. Sed tamen cum a me\\ndiscedunt, fiagitant liter as, cum ad me veniunt-,\\nnullas afferunt. Cic. Ep. 1. 15. ep. It.\\nIs it not more worthy of your mightu\\nu ambition, to be blended with your learn-\\ned brethren at Rome, than to stand the\\nsole great wonder of wisdom amidst a par*\\neel of paltry provincials t Melmoth,\\nCic. Ep. 2. 23.\\nVelim ibi malis esse ubi aliquo numero sis,\\nquam istkic ubi solus sapere videare. Cic.\\nEpist. L L ep. 10.\\nIn short, I plainly perceive youtfinnn-\\nu ces are in no flourishing situation, and I\\nexpect to hear the same account of all your\\nneighbours so that famine, my friend,\\nmost formidable famine, must be your\\nfate, if you do not provide against it in\\ndue time. And since you have been re-\\nu duced to sell your horse, e en mount your\\nmule, (the only animal, it seems, belong**\\ning to you, which you have not yet sacri^\\no4", "height": "3932", "width": "2364", "jp2-path": "essayonprinciple00wood_0235.jp2"}, "236": {"fulltext": "216 PRINCIPLES OE CHAP. IX.\\nJiced to your table), and co?ivey yourself\\nimmediately to Rome. To encourage you\\nto do so, you shall be honoured with a\\nchair and cushion next to mine, and sit\\nthe second great pedagogue in my cele-\\nhrated school. Melmoth, Cic. Ep. 8. 22.\\nVideo te bona perdidisse spero idem isU\\nhue familiar es tuos. Actum igitur de te est,\\nnisi provides. Potes mulo isto quern tibi re-\\nliquum dicis esse (quando cantherium come-\\ndisti) Ro?nam pervehi. Sella tibi erit in\\nludo, tanquam hypodidascalo proxima earn\\npulvinus sequitur. Cic. Ep. 1. 9. ep. 18.\\n4\\nAre you not a pleasant mortal, to que-\\nstion me concerning the fate of those\\nestates you mention, when Balbus had\\njust before been paying you a visit\\nMelmoth, Cic, Ep. 8. 24.\\nNon tu homo ridiculus es, qui cum Bal-\\nbus noster apud tefuerit, ex me quceras quid\\nde istis municipiis et agris futurum put em\\nCic. Ep. 9. 17.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0236.jp2"}, "237": {"fulltext": "CHAP. IX. TRANSLATION. 217\\nAnd now I have raised your expecta-\\nu tions of this piece, I doubt you will\\nbe disappointed when it comes to your\\nhands. In the meanwhile, however, you\\nmay expect it, as something that will\\nplease you And who knows but it may\\nPlin. Ep. 8. 3.\\nErexi expect at ionem tuam quam vereor\\nne destituat oratio in manus sump t a. Inte-\\nrim tamen, tanquam placituram, et fortasse\\nplacebit, expecta. Plin. Ep. 8. 3.\\nI consent to undertake the cause which\\nyou so earnestly recommend to me but\\nas glorious and honourable as it may\\nbe, I will not be your counsel without a\\nfee. Is it possible, you will say, that my\\nfriend Pliny should be so mercenary In\\nu truth it is and I insist upon a reward,\\nwhich will do me more honour than the\\nmost disinterested patronage. Plin.\\nEp. 6. 23.\\nImpense petis ut agam causam pertinentem\\nad curam tuam, pulchram alioquin et famo-", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0237.jp2"}, "238": {"fulltext": "218 PRINCIPLES OF CHAP. IX.\\nsam. Faciam, sed non gratis. Qui fieri\\npotest (inquis) ut non gratis tu Potest t\\nexigam enim mercedem honest ior em gratuito\\npatrocinio. Plin. Ep. 8. 3.\\nTo these examples of the ease of episto-\\nlary correspondence, I add a passage from\\none of the orations of Cicero, which is yet\\nin a strain of greater familiarity A cer-\\ntain mechanic\u00e2\u0080\u0094 -What s his name Oh,\\nVm obliged to you for helping me to it:\\nYes, I mean Polycletus* Melmoth.\\nArtificem-^quemnam Recte admones.\\nPoh/cletum esse ducebant. Cicero, Orat. 2,\\nin Verrem.\\nIsr the preceding instances from Mr Mel-\\nmoth, the words of the English translation\\nwhich are marked in Italics, are those which,\\nin my opinion, give it the ease of original\\ncomposition.\\nSometimes, though very rarely, Mr Mel-\\nmoth fails to rival the ease and spirit of his\\nmodel. The following passage from one of", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0238.jp2"}, "239": {"fulltext": "CHAP. IX. TRANSLATION. 219\\nPliny s Epistles has an uncommon felicity\\nof expression in the original. Pliny thus jocu-\\nlarly remonstrates with his friend Prsesens,\\nfor passing so much of his time in the coun-\\ntry Quonsque regnahis Quousque vigilabis\\nquum voles? dowries quamdiu voles? quous*\\nque calcei nusquam t togaferiata? liber totos\\ndies Temp us est te reviser e molest ias nostras,\\nvel ob hoc solum, ne voluptates istae satietate\\nlanguescant. Ep. lib. vii. 3.\\nAre you obstinately bent to live your\\nown master, and sleep and rise when you\\nthink proper Will you never change\\nyour country dress for the habit of the\\ntown, but spend your whole days unem-\\nbarrassed by business It is time, how-\\nver, you should revisit our scene of hurry,\\nwere it only that your rural pleasures may\\nnot grow languid by enjoyment, MeU\\nmoth s Pliny.\\nThe looseness of this version, and at the\\nsame time its insipidity, when contrasted\\nwith the happy ease and familiarity of the\\noriginal, would almost incline- us to suspect,\\nu\\nu", "height": "3928", "width": "2360", "jp2-path": "essayonprinciple00wood_0239.jp2"}, "240": {"fulltext": "220 PRINCIPLES OF CHAP. IX.\\nthat in this instance the translator had not\\nfully apprehended his author s meaning.\\nThe sense, at least, if not the full spirit of\\nthe passage, may be thus more faithfully\\ngiven\\nHow long must you enjoy the royal\\nprivilege of idleness sleep when you\\nplease, and wake when you please\\nsaunter the livelong day, with your book\\nin your hand in all the comfort of an old\\ncoat, and a pair of easy shoes your town\\naccoutrements and dress-pumps gone,\\nthe Lord knows where, and not to be\\nfound for love or money For heaven s\\nsake, come and taste of our turmoils\\nseek something to plague you, were it\\nonly to give a zest to your happiness.\\nBut while a translator endeavours to trans-\\nfuse into his work all the ease of the origi-\\nnal, the most correct taste is requisite to\\nprevent that ease from degenerating into li-\\ncentiousness. I have, in treating of the imi-\\ntation of style and manner, given some ex-\\namples of the want of this taste. The most\\nlicentious of all translators was Mr Thomas", "height": "3928", "width": "2376", "jp2-path": "essayonprinciple00wood_0240.jp2"}, "241": {"fulltext": "CHAP. IX. TRANSLATION. 221\\nBrown, of facetious memory, in whose\\ntranslations from Lucian we have the most\\nperfect ease but it is the ease of Billings-\\ngate and of Wapping. I shall contrast a\\nfew passages of his translation of this au-\\nthor, with those of another translator, who\\nhas given a faithful transcript of the sense\\nof his original, but from an over-scrupu-\\nlous fidelity has failed a little in point of\\nease.\\n\u00e2\u0096\u00a0Gnathon. What now! Timon, do\\nyou strike me Bear witness, Hercules\\nO me, O me But I will call you into\\nthe Areopagus for this. Timon, Stay a\\nlittle only, and you may bring me in\\n*f guilty of murder*. Francklin s Lu-\\ncian.\\nGnathon Confound him what a\\nblow he has given me AVhat s this for,\\nTN. T tSto j Tctiag u Tiftm {Axgrvpoftxi u HpctxXiti; iov.\\nlev. HpoKxXiipou ri r^xv^ccrog uq Aguov 7rxyov TIM. Keel p//)v uv\\nyi (UKPW iTT^PO^VVY,^ (pOVOV Tcl%X TT^KiKX^YI [Ai. LUCIAN, Tu\\nmon.", "height": "3928", "width": "2364", "jp2-path": "essayonprinciple00wood_0241.jp2"}, "242": {"fulltext": "222 PRINCIPLES OF CHAP. IX.\\nold Touchwood Bear witness, Hercules,\\nthat he has struck me. I warrant you, I\\nshall make you repent of this blow. I ll\\nindite you upon an action of the case, and\\nbring you coram nobis for an assault and\\nbattery. Timon. u Do, thou confound-\\ned law-pimp, do but if thou stayest one\\nminute longer, I ll beat thee to pap. I ll\\nmake thy bones rattle in thee, like three\\nblue beans in a blue bladder. Go, stink-\\nard, or else I shall make you alter your\\naction, and get me indicted for manslaugh-\\nu ter. Timoii) trans, by Brown in Dryden s\\nLucian.\\nOn the whole, a most perfect charac-\\nter we shall see presently, with all his\\nmodesty, what a bawling he will make.\\nFrancklin s Liician, Timon*.\\nIn fine, he s a person that knows the\\nworld better than any one, and is extreme-\\nKctt aXas 7relv(ro pov re kcci wamcj kl axpfiky x*i noon-", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0242.jp2"}, "243": {"fulltext": "CHAP. IX. TRANSLATION. 228\\nly well acquainted with the whole Ency-\\nc clopadia of villany a true elaborate fi-\\nnished rascal and for all he appears so\\ndemure now, that you d think butter\\nwould not melt in his mouth, yet I shall\\nu soon make him open his pipes, and roar\\nlike a persecuted bear, Dryden s Zz/-\\ncian, Timon.\\nHe changes his name, and instead of\\nByrria, Dromo, or Tibius, now takes the\\nname of Megacles, or Megabyzus, or Pro-\\ntarchus, leaving the rest of the expectants\\ngaping and looking at one apother in si-\\nlent sorrow. Francklin s Lucian, Ti-\\ninon f\\nStraight he changes his name, so that\\nthe rascal, who the moment before had\\nno other title about the house, but, you\\n8 son of a whore, you bulk-begotten cur,\\nyou scoundrel, must now be called his\\nAre) t\u00c2\u00bb tews Ilvpfo, q Aftopwvos, y T /3 a, MtyeutXife, ij Mtyclfiv-\\nMs *7rcfite7r\u00c2\u00abvTxs xevrobbtTrm, \u00c2\u00a7c. Lvcian, Timon,", "height": "3928", "width": "2360", "jp2-path": "essayonprinciple00wood_0243.jp2"}, "244": {"fulltext": "224 PRINCIPLES OF CHAP. IX.\\nworship, his excellency, and the Lord\\nknows what. The best on t is, that this\\nmushroom puts all these fellows noses out\\nof joint. c. Dryden s Lucian, Ti-\\n971011.\\nFrom these contrasted specimens we may\\ndecide, that the one translation of Lucian\\nerrs perhaps as much on the score of re-\\nstraint, as the other on that of licentious-\\nness. The preceding examples from Mel-\\nmoth point out, in my opinion, the just me-\\ndium of free and spirited translation, for\\nthe attainment of which the most correct\\ntaste is requisite.\\nIf the order in which I have classed the\\nthree general laws of translation be their\\njust and natural arrangement, which I\\nthink will hardly be denied, it will follow,\\nthat in all cases where a sacrifice is necessa-\\nry to be made of one of those laws to ano-\\nther, a due regard ought to be paid to their\\nrank and comparative importance. The\\ndifferent genius of the languages of the ori-\\nginal and translation, will sometimes make", "height": "3932", "width": "2444", "jp2-path": "essayonprinciple00wood_0244.jp2"}, "245": {"fulltext": "CHAP. IX, TRANSLATION. 225\\nit necessary to depart from the manner of\\nthe original, in order to convev a faithful\\npicture of the sense but it would be high-\\nly preposterous to depart, in any case, from\\nthe sense, for the sake of imitating the man-\\nner. Equally improper would it be, to sa-\\ncrifice either the sense or manner of the\\noriginal, (if these can be preserved consist-\\nently with purity of expression), to a fancied\\nease or superior gracefulness of composition.\\nThis last is the fault of the French transla-\\ntions of D Ablancourt, an author otherwise\\nof very high merit. His versions are admi-\\nrable, so long as we forbear to compare them\\nwith the originals they are models of ease,\\nof elegance, and perspicuity but he has\\nconsidered these qualities as the primary re-\\nquisites of translation, and both the sense\\nand manner of his originals are sacrificed,\\nwithout scruple, to their attainment\\nThe following apology made by D Ablancourt of his own\\nversion of Tacitus, contains, however, many just observa-\\ntions from which, with a proper abatement of that extreme\\nliberty for which he contends, every translator may derive\\nmuch advantage.\\nP", "height": "3932", "width": "2388", "jp2-path": "essayonprinciple00wood_0245.jp2"}, "246": {"fulltext": "226 PRINCIPLES OP CHAP. IX.\\nOf Tacitus he thus remarks Comme il considere sou-\\nt{ vent les choses par quelque biais etranger, il laisse quel-\\nSl quefois ses narrations imparfaites, ce qui engendre de F-\\nobscurite dans ses ouvrages, outre la multitude des fautes\\nqui s y rencontrent, et le peu de lumiere qui nous reste de la\\nplupart des choses qui y sont traitees. II ne faut done pas\\nu s etonner s il est si difficile a. traduire, puisqu il est meme\\ne\u00c2\u00a3 difficile a. entendre. D ailleurs il a accoutume de meler dans\\nune meme periode, et quelquefois dans une meme expression\\nc diverses pensees qui ne tiennent point Tune a l autre, et\\ndont il faut perdre une partie, comme dans les ouvrages\\nqu on polit, pour pouvoir exprimer le reste sans choquer\\nles delicatesses de notre langue, et la justesse du raisonne-\\nment. Car on n a pas le meme respect pour mon Francois\\nque pour son Latin et Ton ne me pardonneroit pas des\\nCi choses, qu on admire souvent chez lui, et s il faut ainsi dire,\\nc qu on revere. Par tout ailleurs je l ai euivi pas a pas, et\\nplutot en esclave qu en compagnon quoique peutetre je me\\npusse donner plus de liberte, puisque je ne traduis pas un\\ncc passage, mais un livre, de qui toutes les parties doivent\\nC( etre unies ensemble, et comme fondues en un meme corps.\\nc D ailleurs, la diversity qui se trouve dans les langues est\\nfC si grande, tant pour la construction et la forme des periodes,\\nct que pour les figures et les autres ornemens, qu il faut a tous\\ntc coups changer d air et de visage, si Ton ne veut faire un\\ncorps monstrueux, tel que celui des traductions ordinaires,\\nqui sont ou mortes et languissantes, ou confuses et em-\\nbrouillees, sans aucun ordre ni agrement. II faut done\\nprendre garde qu on ne fasse perdre la grace a son auteur\\n(e par trop de scrupule, et que de peur de lui manquer de foi\\nen quelque chose, on ne lui soit infidele en tout principale-\\nment quand on fait un ouvrage qui doit tenir lieu de\\nl original, et qu on ne travaille pas pour faire entendre aux\\njfcunes gens le Grec ou le Latin. Car on sait que les ex-", "height": "3932", "width": "2456", "jp2-path": "essayonprinciple00wood_0246.jp2"}, "247": {"fulltext": "CHAP. IX. TRANSLATION, 22/\\npressions hardies ne sont point exactes, parceque la justesse\\nest ennemie de la grandeur, comme il se voit dans la pein-\\nture et dans l ecriture mais la hardiesse du trait en supplee le\\ndefaut, et elles sont trouvees plus belles de la sorte, que si\\nelles etoient plus regulieres. D ailleurs il est difficile d etre\\nbien exact dans la traduction d un auteur qui ne Test point.\\n(C Souvent on est contraint d aj outer quel que chose a. sa pen-\\ne see pour Teclaircir quelquefois il faut en retrancher une\\npartie, pour donner jour a tout le reste. Cependant, cela\\nfait que les meilleurs traductions paroissent les moins fide-\\nles et un critique de notre terns a remarque deux mille\\nfautes dans le Plutarque d Amyot, et un autre presqu autant\\ndans les traductions d Erasme peutetre pour ne pas sa-\\nvoir que la diversite des langues et des styles oblige a des\\ntraits tout differens, parceque ^Eloquence est une chose si\\ndelicate, quit nefaut quelquefois quune syllabe pour la cor*\\nrompre. Car du reste, il n y a point d apparence que deux\\nsi grands hommes se soient abuses en tant de lieux, quoi-\\nqu il ne soit pas etrange qu on se puisse abuser en quelque\\ne{ endroit. Mais tout le monde n est pas capable de juger\\n,c d une traduction, quoique tout le monde s en attribue la\\nconnoissance et ici comme ailleurs, la m?,xime d Aristote\\ndevroit servir de regie, qu il faut croire chacun en son\\nm art.\\np2", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0247.jp2"}, "248": {"fulltext": "", "height": "3932", "width": "2360", "jp2-path": "essayonprinciple00wood_0248.jp2"}, "249": {"fulltext": "CHAP. X. TRANSLATION. 229\\nCHAPTER X.\\nIt is less difficult to attain the Ease of Origi-\\nnal Composition in Poetical, than in Prose\\nTranslation. Lyric Poetry admits of the\\ngreatest Liberty of Translation. Examples\\ndistinguishing Paraphrase from Transla-\\ntion, from Dry den Lowth, Fontenelle^\\nPrior, Anguillara, Hughes.\\nJ t may perhaps appear paradoxical to as-\\nsert, that it is less difficult to give to a poe-\\ntical translation all the ease of original com-\\nposition, than to give the same degree of\\nease to a prose translation. Yet the truth\\nof this assertion will be readily admitted,\\nif assent is given to that observation, which\\nI before endeavoured to illustrate, viz. That\\np 3", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0249.jp2"}, "250": {"fulltext": "230 PRINCIPLES OF CHAP. X.\\na superior degree of liberty is allowed to\\na poetical translator in amplifying, retrench-\\ning from, and embellishing his original,\\nthan to a prose translator. For without\\nsome portion of this liberty, there can be\\nno ease of composition and where the\\ngreatest liberty is allowable, there that ease\\nwill be most apparent, as it is less difficult\\nto attain to it\\nFor the same reason, among the different\\nspecies of poetical composition, the lyric is\\nIt is almost impossible/ says Dry den, in reference to\\nhis own poetical translations, to translate verbally, and\\nat the same time to translate well. The verbal copier is\\nCi encumbered with so many difficulties at once, that he can\\nnever disentangle himself from all. He is to consider, at\\ne( the same time, the thought of the author, and his words,\\nec and to find out the counterpart to each in another Ian*\\nif guage and besides this, he is to confine himself to the\\nff compass of numbers and the slavery of rhyme. It is\\nfe like dancing on ropes with fettered legs A man can shun\\na fall by using caution, but the gracefulness of motion is\\nnot to be expected and when we have said the best of it,\\nit is but a foolish task for no sober man would put mm*\\nself into a danger, for the applause of escaping without\\nf( breaking his neck.", "height": "3932", "width": "2436", "jp2-path": "essayonprinciple00wood_0250.jp2"}, "251": {"fulltext": "CHAP. X. TRANSLATION. 231\\nthat which allows of the greatest liberty in\\ntranslation as a freedom both of thought\\nand expression is agreeable to its character.\\nYet even in this, which is the freest of all\\nspecies of translation, we must guard against\\nlicentiousness and perhaps the more so,\\nthat we are apt to persuade ourselves that\\nthe less caution is necessary. The difficulty\\nindeed is, where so much freedom is allow-\\ned, to define what is to be accounted licen-\\ntiousness in poetical translation. A mo-\\nderate liberty of amplifying and retrenching\\nthe ideas of the original, has been granted\\nto the translator of prose but is it allow-\\nable, even to the translator of a lyric poem,\\nto add new images and new thoughts to\\nthose of the original, or to enforce the sen-\\ntiments by illustrations which are not in\\nthe original As the limits between free\\ntranslation and paraphrases are more easily\\nperceived than they can be well defined,\\ninstead of giving a general answer to this\\nquestion, I think it safer to give my opinion\\nupon particular examples.\\np4", "height": "3928", "width": "2376", "jp2-path": "essayonprinciple00wood_0251.jp2"}, "252": {"fulltext": "23\u00c2\u00a3 PRINCIPLES OF CHAP. X*\\nDr Lowth has adapted to the present\\ntimes, and addressed to his own country-\\nmen, a very noble imitation of the 6th ode\\nof the 3d book of Horace Delict a ma jo-\\nrum immeritus lues, c. The greatest part\\nof this composition is of the nature of pa-\\nrody but in the version of the following\\nstanza there is perhaps but a slight excess\\nof that liberty which may be allowed tQ\\nthe translator of a lyric poet\\nMotus doceri gaudet Iojucos\\nMatura virgo, etjingitur artubus\\nJam nunc, et incestos amores\\nDe tenero meditaiur ungui.\\nThe ripening maid is vers d in every dangerous art,\\nThat ill adorns the form, while it corrupts the heart\\nPractis d to dress, to dance, to play,\\nIn wanton mask to lead the way,\\nTo move the pliant limbs, to roll the luring eye\\nWith Folly s gayest partizans to vie\\nIn empty noise and vain expence\\n,To celebrate with flaunting air\\nThe midnight revels of the fair\\nStudious of every praise, but virtue, truth, and seiise", "height": "3932", "width": "2444", "jp2-path": "essayonprinciple00wood_0252.jp2"}, "253": {"fulltext": "\u00c2\u00a9HAP, X. TRANSLATION. 238\\nHere the translator has indeed superadd-\\ned no new images or illustrations but he\\nhas, in two parts of the stanza, given a mo-\\nral application which is not in the original\\nThat ill adorns the form, while it cor-\\nrupts the heart and Studious of\\nevery praise, but virtue, truth, and sense.\\nThese moral lines are unquestionably a very\\nhigh improvement of the original but they\\nseem to me to exceed the liberty allowed\\nin a professed translation of a poem.\\nIn that fine translation by Dry den, of the\\n29th ode of the 3d book of Horace, which\\nupon the whole is paraphrastical, the ver-\\nsion of the two following stanzas has no\\nmore licence than what is justifiable\\nFortuna scevo Icetd negotio, et\\nLudurr- insolentem ludere pertinax,\\nTransmutat incertos konores,\\nNunc mihi, nunc alii benigna*\\nLaudo manentem si celeres quatii\\nPennas, resigno quae dedit et mea\\nVirtute me involvo, prohamque\\nPauperiem sine dote qucero*", "height": "3912", "width": "2380", "jp2-path": "essayonprinciple00wood_0253.jp2"}, "254": {"fulltext": "234 PRINCIPLES OF CHAP.X.\\nFortune, who with malicious joy\\nDoes man, her slave, oppress,\\nProud of her office to destroy.\\nIs seldom pleas d to bless.\\nStill various and inconstant still,\\nBut with an inclination to be ill,\\nPromotes, degrades, delights in strife,\\nAnd makes a lottery of life.\\nI can enjoy her while she s kind\\nBut when she dances in the wind,\\nAnd shakes her wings, and will not stay,\\nI puff the prostitute away\\nThe little or the much she gave is quietly resigned\\nContent with poverty, my soul I arm,\\nAnd Virtue, though in rags, will keep me warm.\\nThe celebrated verses of Adrian, addressed\\nto his Soul, have been translated and imi-\\ntated by many different writers.\\nAnimula, vagula, blandula,\\nHospes, comesque corporis I\\nQuae nunc abibis in loca,\\nPallidula, frigida, nudula,\\nNee ut soles dabis joca", "height": "3928", "width": "2376", "jp2-path": "essayonprinciple00wood_0254.jp2"}, "255": {"fulltext": "CHAP. X. TRANSLATION. 235\\nBy Casaubon.\\nEzvn xxi eroti^yi rapxros,\\nHo7 VVV TCthXlV iXiVTiXl,\\nApzvvig, yos^atre xxt rx.tx,\\nOva oix 7rxp6$ rpv(pnrseU\\nExcept in the fourth line, where there is a\\nslight change of epithets, this may be term-\\ned a just translation, exhibiting both the\\nsense and manner of the original.\\nBy Fontenelle.\\nMa petite ame, ma mignonne,\\nTu t en vas done, ma fille^ et Dieu sache cm tu vas.\\nTu pars seulette nue, et tremblotante, helas!\\nQue deviendra ton humeur folichonne\\nQue deviendront tant de jolis ebats\\nThe French translation is still more faith-\\nful to the original, and exhibits equally with\\nthe former its spirit and manner.\\nThe following verses by Prior are certain-\\nly a great improvement upon the original", "height": "3912", "width": "2376", "jp2-path": "essayonprinciple00wood_0255.jp2"}, "256": {"fulltext": "236\\nPRINCIPLES OF\\nCHAP. X.\\nby a most judicious and happy amplification\\nof the sentiments, (which lose much of their\\neffect in the Latin, from their extreme com-\\npression) nor do they, in itiy opinion, ex-\\nceed the liberty of poetical translation.\\nPoor little pretty fluttering thing,\\nMust we no longer live together\\nAnd do st thou prune thy trembling wing,\\nTo take thy flight, thou know st not whither\\nThe hum rous vein, the pleasing folly,\\nLies all neglected, all forgot\\nAnd pensive, wav ring melancholy,\\nThou dread st and hop st thou know st not what,\\nMr Pope s Dying Christian to his\\nsoul, which is modelled on the verses\\nof Adrian, retains so little of the thoughts\\nof the original, and substitutes in their place\\na train of sentiments so different, that it\\ncannot even be called a paraphrase^ but falls\\nrather under the description of imitation.\\nThe Italian version of Ovid in ottava rima,\\nby Anguillara, is a work of great poetical\\nmerit; but is scarcely in any part to be re-\\ngarded as a translation of the original. It", "height": "3932", "width": "2452", "jp2-path": "essayonprinciple00wood_0256.jp2"}, "257": {"fulltext": "CHAP. X. TRANSLATION. 237\\nis almost entirely paraphrastical. The Ita-\\nlian poet is often extremely happy in his\\namplifications of which I shall give two re-\\nmarkable examples. When Polyphemus\\ndiscovers Galatea in company with his rival\\nAcis, he utters a hideous cry\\nTantaque vox quantum Cyclops iratus habere\\nDebuit, ilia fuit clamore perhorruit Mtna.\\nMet. lib. i\u00c2\u00a3,\\nTremo per troppo horrore Etna e Tifeo\\nFece maggior la fiamma uscir del monte\\nE Pachino, e Pelom, e Lilibeo,\\nQuasi attufFar nel mar l altera fronte\\nCadde il martel di man nel monte Etneo\\nAl re di Lenno, a Sterope e a Bronte\\nFuggir fiere, e augei del lor ricetto\\nE si strinse ogni madre il %lio al petto,\\nEvery thing in this passage, except the\\nfirst line, is additional imagery with which\\nAnffuillara has embellished his original\\nbut he must be a tasteless reader who is in*\\nsensible to the high merit of those additions,\\nThe exquisitely tender image in the last line,\\ncontrasted with t|ie pictures of horror in", "height": "3928", "width": "2376", "jp2-path": "essayonprinciple00wood_0257.jp2"}, "258": {"fulltext": "238 PRINCIPLES OF CHAP. X.\\nthose immediately preceding, affords a fine\\nexample of the union of the sublime and\\nbeautiful.\\nIn the story of Pyramus and Thisbe, the\\nsimple ideas announced in these two lines,\\nTempore crevit amor taedae quoque jure co issent\\nSed vetuere patres quod non potuere vetare,\\nare the subject of the following paraphrase,\\nwhich is as beautiful in its composition, as\\nit is unbounded in the licence of its amplifi-\\ncation\\nEra l amor cresciuto a poco a poco\\nSecondo erano in lor cresciuti gli anni\\nE dove prima era trastullo, e gioco,\\nScherzi, corrucci, e fanciulleschi inganni,\\nQuando fur giunti a quella eta di foco\\nDove comincian gli amorosi affanni\\nChe l alma nostra ha si leggiadro il manto\\nE che la Donna e l huom s amano tanto\\nEra tanto l amor, tanto il desire,\\nTanta la fiamma, onde ciascun ardea\\nChe 1 uno e 1 altro si vedea morire,\\nSe pietoso Himeneo non gli giungea.", "height": "3928", "width": "2368", "jp2-path": "essayonprinciple00wood_0258.jp2"}, "259": {"fulltext": "CHAP. X. TRANSLATION. 239\\nE tanto era maggior d ambi il martire,\\nQuanto il voler de l un Taltro scorge.\\nBen ambo de le nozze eran content!,\\nMa no l sofir iro i loro empi parenti.\\nEran fra i padri lor pochi anni avanti\\nNata una troppo cruda inimicitia\\nE quanto amore, e f e s hebber gli amanti,\\nTanto regno ne padri odid e malitia.\\nGli huomini della terra piu prestanti,\\nTentar pur di ridurli in amicitia\\nE vi s affaticar piu volte assai\\nMa non vi sepper via ritrovar mai,\\nQuei padri., che fra lor fur si infedeli\\nVetaro a la fanciulla, e al giovinetto,\\nA due si belli amanti, e si fedel.i\\nChe non dier lucgo al desiato affetto\\nAhi padri irragionevoli e crudeli\\nPerche togliete lor tanto diletto\\nS ogn un di loro il suo desio corregge\\nCon la terrena, e la celeste legge\\nA striking resemblance to this beautiful apostrophe Ahi\\npadri irragionevoli, is found in the beginning of Moncrif s\\nRomance d Alexis et Alls, a ballad which the French justly\\nconsider as a model of tenderness and elegant simplicity;", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0259.jp2"}, "260": {"fulltext": "240 PRINCIPLES OF CHAP. X.\\nsfortunati padri, ove tendete,\\nQual ve gli fa destin tener disgiunti\\nPerche vetate, quel che non potete\\nChe gli animi saran sempre congiunti\\nAhij che sara di voi, se gli vedrete\\nPer lo vostro rigor restar defunti\\nAhi, che co vostri non sani consigli\\nProcurate la morte a* vostri figli\\nPourquoi rompre leur manage,\\nMedians parens\\nlis auroient fait si bon menage\\nA tous momens\\nQue sert d avoir bagues et dentelle\\nPour se parer\\nAh la richesse la plus belle\\nEst de s aimer.\\nQuand on a commence la vie\\nDisant ainsi\\nOui, vous serez toujours ma mie,\\nVous mon ami\\nQuand l age augmente encor Ten vie\\nDe s entreumr\\nQu avec un autre on nous marie\\nVaut mieux mourir.", "height": "3932", "width": "2396", "jp2-path": "essayonprinciple00wood_0260.jp2"}, "261": {"fulltext": "CHAP. X. TRANSLATION. 241\\nIn the following poem by Mr Hughes,\\nwhich the author has entitled an imitation\\nof the 16th ode of the 2d book of Horace,\\nthe greatest part of the composition is a just\\nand excellent translation, while the rest is a\\nfree paraphrase or commentary on the origi-\\nnal. I shall mark in Italics, all that I consi-\\nder as paraphrastical the rest is a just trans-\\nlation, in which the writer has assumed no\\nmore liberty, than was necessary to give\\nthe poem the easy air of an original com*\\nposition.\\nI.\\nIndulgent Quiet Pow r serene,\\nMother of Peace, and Joy, and Love,\\nO say, thou calm, propitious Queen,\\nSay, in what solitary grove,\\nWithin what hollow rock, or winding cell,\\nBy human eyes unseen,\\nLike some retreated Druid dost thou dwell\\nAnd why, illusive Goddess why,\\nWhen we thy mansion would surround,\\nWhy dost thou lead us through enchanted ground,\\nTo mock our vain research, anflfrom our wishes fly 9", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0261.jp2"}, "262": {"fulltext": "242 PRINCIPLES OF CHAP. X.\\nII.\\nThe wand ring sailors, pale with fear,\\nFor thee the Gods implore,\\nWhen the tempestuous sea runs high,\\nAnd when through all the dark, benighted sky,\\nNo friendly moon or stars appear,\\nTo guide their steerage to the shore\\nFor thee the weary soldier prays,\\nFurious in fight the sons of Thrace,\\nAnd Medes, that wear majestic by their side\\nA full-charg d quiver s decent pride,\\nGladly with thee would pass inglorious days-,\\nRenounce the warrior s tempting praise,\\nAnd buy thee, if thou might st be sold,\\nWith gems, and purple vests, and stores of plunder d gold.\\nIII.\\nBut neither boundless wealth, nor guards that wait\\nAround the Consul s honour d gate.\\nNor antichambers with attendants fill d,\\nThe mind s unhappy tumults can abate,\\nOr banish sullen cares, that fly\\nAcross the gilded rooms of state,\\nAnd their foul nests- like swallows build\\nClose to the palace-roofs and tow rs that pierce the sky\\nMuch less will Nature s modest wants supply", "height": "3956", "width": "2396", "jp2-path": "essayonprinciple00wood_0262.jp2"}, "263": {"fulltext": "CHAP. X. TRANSLATION. 243\\nAnd happier lives the homely swain,\\nWho in some cottage, far from noise,\\nHis few paternal goods enjoys\\nNor knows the sordid lust of gain,\\nNor with Fear s tormenting pain\\nHis hovering sleep destroys.\\nIV.\\nVain man that in a narrow space\\nAt endless game projects the darting spear\\nFor short is life s uncertain race\\nThen why, capricious mortal why\\nDost thou for happiness repair\\nTo distant climates and a foreign air\\nFool from thyself thou canst not fly,\\nThyself the source of all thy care\\nSo flies the wounded stag, provok d with pain,\\nBounds o er the spacious downs in vain;\\nThe feather d torment sticks within his side.\\nAnd from the smarting wound a purple tide\\nMarks all his way with blood, and dyes the grassy plain,\\nV.\\nBut swifter far is execrable Care\\nThan stags, or winds, that through the skies\\nThick-driving snows and gather d tempests bear\\nPursuing Care the sailing ship out-flies.\\n\u00c2\u00ab2", "height": "3928", "width": "2368", "jp2-path": "essayonprinciple00wood_0263.jp2"}, "264": {"fulltext": "244 PRINCIPLES OF CHAP. X.\\nClimbs the tall vessels painted sides\\nNor leaves arm d squadrons in the field,\\nBut with the marching horseman rides,\\nAnd dwells alike in courts and camps, and makes all places\\nyield.\\nVI.\\nThen, since no state s completely blest,\\nLet s learn the bitter to allay\\nWith gentle mirth, and, wisely gay,\\nEnjoy at least the present day,\\nAnd leave to Fate the rest.\\nNor with vain fear of ills to come\\nAnticipate th s appointed doom.\\nSoon did Achilles quit the stage;\\nThe hero fell by sudden death\\nWhile Tithon to a tedious, wasting age\\nDrew his protracted breath.\\nAnd thus, old partial Time, my friend,\\nPerhaps unask d, to worthless me\\nThose hours of lengthen d life may lenct*\\nWhich he ll refuse to thee.\\nVII.\\nThee shining wealth, and plenteous joys surround.\\nAnd all thy fruitful fields around\\nUnnumber d herds of cattle stray", "height": "3960", "width": "2396", "jp2-path": "essayonprinciple00wood_0264.jp2"}, "265": {"fulltext": "CHAP. X. TRANSLATION. 245\\nThy harness d steeds with sprightly voice,\\nMake neighbouring vales and hills rejoice,\\nWhile smoothly thy gay chariot flies o er the swift-mea-\\nsur d way.\\nTo me the stars with less profusion kind,\\nAn humble fortune have assign d,\\nAnd no untuneful Lyric vein,\\nBut a sincere contented mind\\nThat can the vile, malignant crowd disdain\\nOtium divos rogat in patenti\\nPrensus iEgeo, simul atra nubes\\nCondidit Lunam, neque certa fulgent\\nSidera nautis.\\nOtium bello furiosa Thrace,\\nOtium Medi pharetra decori,\\nGrosphe, non gemmis, neque purpura venale, nee\\nauro.\\nNon enim gaza?, neque Consularis\\nSummovet lictor miseros tumultus\\nMentis, et curas laqueata circum\\nTecta volantes.\\nVivitur parvo bene, cui paternum\\nSplendet in mensa tenui salinum\\nNee leves somnos Timor -aut Cupidii\\nSordidus aufert.\\nq3", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0265.jp2"}, "266": {"fulltext": "r\\n246 PRINCIPLES OF CHAP. X,\\nOn the subject of poetical translation, no\\nwriter has thrown together more sound\\nsense, and just observation, in a small com-\\npass, than Mr Dryden and with his re-\\nmarks, which go near to exhaust the subject,\\nI shall conclude this chapter\\nQuid brevi fortes jaculamur aevQ\\nMulta quid terras alio calentes\\nSole mutamus Patriae quis exuj,\\nSe quoque fugit\\nScandit seratas vitiosa naves\\nCura, nee turmas equitum relinquit,\\nQcyor cervis, et agente nimbos\\nOcyor Euro.\\nLaetus in praesens animus, quod ultra es\\nOderit curare et amara lento\\nTemperat risu. Nihil est ab omni\\nParte beatum.\\nAbstulit clarum cita mors Achillem\\nLonga Tithonum minuit senectus\\nEt mihi forsan, tibi quod negarit,\\nPorriget hora.", "height": "3956", "width": "2432", "jp2-path": "essayonprinciple00wood_0266.jp2"}, "267": {"fulltext": "CHAP. X. TRANSLATION. 247\\nNo man is capable of translating poe-\\ntry, who, besides a genius to that art, is\\nnot a master, both of his author s Ian-\\nguage and of his own nor must we un-\\nderstand the language only of the poet,\\nbut his particular turn of thoughts and\\nexpression, which are the characters that\\ndistinguish, and as it were, individuate\\nhim from all other writers. When we are\\ncome thus far, it is time to look into our-\\nselves, to conform our genius to his, to\\ngive his thoughts either the same turn, if\\novir tongue will bear it, or if not, to vary\\nbut the dress, not to alter or destroy the\\nsubstance. The like care must be taken\\nof the more outward ornaments, the\\nTe greges centum, Siculseque circum\\nMugiunt vaccae tibi tollit hinnitum\\nApta quadrigis equa te bis Afro\\nMurice tinctas.\\nVestiunt lanae mihi parva rura, et\\nSpiritum Graiae tenuem Camcenae\\nParca non mendax dedit, et malignum\\nSpernere vulgus.\\nHor. Od. 2. 16.\\nQ4", "height": "3924", "width": "2364", "jp2-path": "essayonprinciple00wood_0267.jp2"}, "268": {"fulltext": "248 PRINCIPLES OF CHAP. X.\\nwords. When they appear, which is but sel-\\ndom, literally graceful, it were an injury\\nto the author, that they should be chan-\\nct ged but since every language is so full\\nof its own proprieties, that what is beauti-\\nful in one is often barbarous, nay some-\\nc times nonsense in another, it would be\\nunreasonable to limit a translator to the\\nnarrow compass of his author s words. It\\nis enough if he choose out some expres-\\na sion which does not vitiate the sense. I\\nsuppose he may stretch his chain to such\\na a latitude but by innovation of thoughts,\\nu methinks, he breaks it. By this means,\\nthe spirit of an author may be transfused,\\nand yet not lost and thus, it is plain,\\nthat the reason alleged by Sir John Den-\\nham has no farther force than to expres-\\nsion for thought, if it be translated truly,\\ncannot be lost in another language but\\nu the words that convey it to our apprehen-\\nsion, (which are the image and ornament\\nof that thought), may be so ill chosen, as\\nto make it appear in an unhandsome\\ndress, and rob it of its native lustre.\\nThere is, therefore, a liberty to be allow-", "height": "3928", "width": "2440", "jp2-path": "essayonprinciple00wood_0268.jp2"}, "269": {"fulltext": "CHAP. X. TRANSLATION, 249\\ned for the expression Neither is it ne-\\ncessary that words and lines should be\\nconfined to the measure of their original.\\nThe sense of an author, generally speak-\\ning, is to be sacred and inviolable. If the\\nfancy of Ovid be luxuriant, it is his cha-\\nracter to be so and if I retrench it, he is\\nno longer Ovid. It will be replied, that\\nhe receives advantage by this lopping off\\nhis superfluous branches but I rejoin,\\nthat a translator has no such right. When\\na painter copies from the life, I suppose\\na he has no privilege to alter features and\\nlineaments, under pretence that his pic-\\na ture will look better; perhaps the face\\nu which he has drawn would be more exact,\\nif the eyes or nose were altered but it\\nis his business to make it resemble the\\na original. In two cases only there may a\\nseeming difficulty arise that is, if the\\nthought be either notoriously trivial or dis-\\nf honest: but the same answer ^will serve\\na for both, That then they ought not to be\\ntranslated.\\n-Et quae\\nDesperes tractata nitescere posses relinquaSi\\nDrydens Vref. to Trans, from Ovids Epistles.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0269.jp2"}, "270": {"fulltext": "", "height": "3932", "width": "2432", "jp2-path": "essayonprinciple00wood_0270.jp2"}, "271": {"fulltext": "CHAP, XI. TRANSLATION, 251\\nCHAPTER XL\\nOf the Translation of Idioms.\u00e2\u0080\u0094 -General\\nIdioms, Idiomatic Phrases. Examples\\nfrom Spelman, Smollefs Gil Bias, Cotton,\\nEchard, Sterne. Injudicious Use of Idi-\\noms in the Translation, which do not cor-\\nrespond with the Age or Country of the\\nOriginal. Idiomatic Phrases sometimes\\nincapable oj Translation.\\nV T hile a translator endeavours to give\\nto his work all the ease of original com-\\nposition, the chief difficulty he has to\\nencounter will be found in the translation\\nof idioms, or those turns of expression\\nwhich do not belong to universal grammar,\\nbut of which every language has its own.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0271.jp2"}, "272": {"fulltext": "252 PRINCIPLES OF CHAP. XI.\\nthat are exclusively proper to it. It will\\nbe easily understood, that when I speak of\\nthe difficulty of translating idioms, I do not\\nmean those peculiar phrases in all languages\\nof which the sense is not accurately con-\\nveyed by the literal meaning As, for ex-\\nample, the French phrase, tin homme bien ?ie,\\nwhich we see often translated, a man well\\nborn, or of a good family instead of a man of\\ngood natural dispositions for a mistake in\\nphrases of this kind only shews the trans-\\nlator s insufficient knowledge of the lan-\\nguage from which he translates. Neither\\ndo I mean those general modes of arrange-\\nment or construction which regulate a whole\\nlanguage, and which may not be common\\nto it with other tongues As, for example,\\nthe placing the adjective always before the\\nsubstantive in English, which in French and\\nin Latin is more commonly placed after it\\nthe use of the participle in English, where\\nthe present tense is used in other langua-\\nges as he is writing, scribit, il ecrit the\\nuse of the preposition to before the infi-\\nnitive in English, where the French use the\\npreposition de or of These last, which", "height": "3956", "width": "2428", "jp2-path": "essayonprinciple00wood_0272.jp2"}, "273": {"fulltext": "CHAP. XI. TRANSLATION. 253\\nmay be termed the general idioms of a lan-\\nguage, are soon understood, and are ex-\\nchanged for parallel idioms with the utmost\\nease. With regard to these a translator can\\nnever err, unless through affectation or\\nchoice. For example, in translating the\\nFrench phrase, II profit a (Tun avis, he may\\nchoose fashionably to say, in violation of\\nthe English construction, he profited of an\\nadvice or, under the sanction of poetical\\nlicence, he may choose to engraft the idiom\\nof one language into another, as Mr Mac-\\npherson has done, where he says, Him\\nto the strength of Hercule^ the lovely\\nAstyochea bore Ov rzzzv AfTvoyjicx,, j3\u00c2\u00ab2\\nB^aKhmif II. lib. 2. 1. 165.\\nI must here, however, notice two errors\\nin regard to general idioms into which many\\ntranslators from the French language into\\nthe English, have fallen, either from igno-\\nrance, or inattention to the general con-\\nstruction of the two languages. 1. In nar-\\nrative, or the description of past actions,\\nthe French often use the present tense for\\nthe preterite Deu.r jeunes nobles Mexicains", "height": "3932", "width": "2360", "jp2-path": "essayonprinciple00wood_0273.jp2"}, "274": {"fulltext": "254 PRINCIPLES OF CHAP. XI,\\njettent leurs armes, et mennent d lui comme,\\ndfoerteurs. Ik mettent un genouil a terre\\ndans la posture des supplians Us le saisis-\\nsent, et selaneent de la platforme* Cortez\\ns 9 en dSbarasse, et se retient d la balustrade*\\nLes deux jeunes nobles perissent sans avoir\\nexecute leur generense entreprise. Raynal\\nHist. Phil, et Pol. liv. vi. Let us ob-\\nserve the awkward effect of a similar use of\\nthe present tense in English. Two_young\\nMexicans of noble birth throw away their\\narms, and come to him as deserters. They\\nw kneel in the posture of suppliants they\\nseize him, and throw themselves from the\\nplatform. Cortez disengages himself\\nfrom their grasp, and keeps hold of the\\nballustrade. The noble Mexicans perish\\nwithout accomplishing their generous de-\\nsign. In like manner, the use of the\\npresent for the past tense is very common\\nin Greek, and we frequently remark the\\nsame impropriety in English translations\\nfrom that language. After the death of\\nDarius, and the accession of Artaxerxes,\\nTissaphernes accuses Cyrus to his brother\\nof treason Artaxerxes gives credit to", "height": "3956", "width": "2388", "jp2-path": "essayonprinciple00wood_0274.jp2"}, "275": {"fulltext": "CHAP. XI. TRANSLATION. 255\\nthe accusation, and orders Cyrus to be\\napprehended, with a design to put him\\nto death but his mother having saved\\nhim by her intercession, sends him back\\nto his government. Spelmans Xenophon.\\nIn the original, these verbs are put in the\\npresent tense, hufiuXXzi, tufarai, (rvKkapfium,\\naKovefjuTrsi But this use of the present tense\\nin narrative is contrary to the genius of the\\nEnglish language. The poets have assu-\\nmed it and in them it is allowable, be-\\ncause it is their object to paint scenes as\\npresent to the eye ut pictura poesis but\\nall that a prose narrrative can pretend to,\\nis an animated description of things past\\nif it goes any farther, it encroaches on the\\ndepartment of poetry\\nIn one way, however, this use of the present tense is\\nfound in the best English historians, namely, in the sum-\\nmary heads, or content of chapters. ft Lambert Simnel in-\\nvades England, Perkin Warbeck is avowed by the Duchess\\nof Burgundy he returns to Scotland he is taken pri-\\nsoner and executed, Hume. But it is by an ellipsis\\nthat the present tense comes to be thus used. The sentence\\nat large would stand thus u This chapter relates how Lam-\\nfl bert Simnel invades England, how Perkin Warbeck if?\\navowed by the Duchess of Burgundy, c.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0275.jp2"}, "276": {"fulltext": "256 PRINCIPLES OF CHAP. XI.\\n2. The following error relative to a gene-\\nral idiom, is one of which we may find ex-\\namples, even in translations of great merit.\\nThe French, in familiar conversation, with\\nan equal or inferior, use the personal pro-\\nnoun tu and te or toi, in the singular num-\\nber instead of the plural vous (lis se\\ntutoyent). This usage is always indica-\\ntive of ease and familiarity, and often\\nof endearment, But it is idiomatic, or pe-\\nculiar to the French language the English\\ndoes not admit that mode of speech in fa-\\nmiliar discourse. None but a Quaker uses\\nthee and $kau+ with the corresponding em-\\nployment of the verb in the singular num-\\nber. Such use, therefore, in the English,\\nproduces a quite contrary effect to that\\nwhich it produces in the French and in-\\nstead of ease, familiarity or endearment, is\\nnecessarily attended with stiffness, forma-\\nlity and precision. The translation of Gil\\nBl s by Smollett, is a work of great me-\\nrit. The English author is true to the\\nsense, manner, and spirit of his original,\\nand is often extremely happy in the inter-\\nchange of particular idioms. But he has-", "height": "3956", "width": "2464", "jp2-path": "essayonprinciple00wood_0276.jp2"}, "277": {"fulltext": "CHAP. XI. TRANSLATION. 257\\nuniformly erred with regard to that general\\nidiomatic use of the pronoun tH i te y and\\ntoi and has thus thrown an air of stillness\\nand formality on those parts, which in the\\noriginal are most distinguished for their ease\\nand spirit. A single example will illustrate\\nthese remarks Fabrice ne put mime sem~\\npecher de me dire un jour En verite, Gil\\nBlas^je ne te reconnois plus, Avant que\\ntu fusses a la cour, tu avois toujours V esprit\\ntranquille a present je te vois sans cesse\\nagite. Tu formes prqjet sur projet pour\\nt enricher, et plus tu amasses de Men, plus\\ntu veux en amasser. Outre cela, te le di-\\nrai-je Tu nas plus avec moi ces Spanche-\\nmens de cceur, ees manieres lihres qui font\\nle charme des liaisons. Tout an contraire,\\ntu t enveloppes, et me caches le fonds de\\nton ame. Je remarque meme de la contrainte\\ndans les honnetetes que tu me fais. En-\\nJin Gil Bias 71 est plus ce meme Gil Bias\\nquefai connu. Tu plaisantes sans chute,\\nlui respondis-je, d y un air assez froid. Je\\nri appercois en moi aucun cliangement. Ce\\n46 nest point d tes yeux, repliqua-t-il, quon\\ndoit s en rapporter. lis sont fascine s.\\nR", "height": "3932", "width": "2396", "jp2-path": "essayonprinciple00wood_0277.jp2"}, "278": {"fulltext": "258 PRINCIPLES OF CHAP. XI.\\nCrois-moi 9 ta metamorphose nest que trop\\nveritable Fabricio one day could not\\nhelp saying, Truly, Gil Bias, thou art\\ngrown out of my knowledge before thy\\ncoming to Court, thou wast always easy\\nand tranquil at present thou art inces-\\nu santly agitated with project after project\\nto enrich thyself; and the more wealth\\nthou hast got, the more wouldst thou\\namass. Besides, let me tell thee, thou no\\nlonger treatest me with that effusion of\\nthe heart, and freedom of behaviour which\\nare the soul of friendship on the contra-\\nry, thou wrappest thyself up, and con-\\ncealest from me thy secret views nay, I\\ncan perceive constraint in all thy civilities\\ntowards me In short, Gil Bias is no long-\\ner the same Gil Bias whom I formerly\\nknew. You joke, sure, (said I, with an\\nair of indifference), I can t perceive any\\nu change in myself.\u00e2\u0080\u0094 Thy own eyes are no\\njudges, (answered he), they are bewitch-\\ned believe me, the metamorphosis is\\nbut too true. The contrasted effect of\\nthe ease of the original with the stiffness of\\nthe translation, must be apparent to every", "height": "3956", "width": "2492", "jp2-path": "essayonprinciple00wood_0278.jp2"}, "279": {"fulltext": "CHAP. XI* TRANSLATION. 259\\nreader. Ill one place the translator was\\ncompelled into the right path* Tu plaisantes,\\nsans doute, lui repawns je You joke, sure,\\nu said I. Thoujohest, sure, said J, could\\nnot have been tolerated in easy conversa-\\ntion a proof that ought to have led the in-\\ngenious translator to suspect that he had\\nbeen violating the English idiom through\\nthe whole passage.\\nBut it is not with regard to such general\\nidioms as I have mentioned above, that an\\nable translator will often be led into rror.\\nIt is in the translation of those particular idio-\\nmatic phrases of which eivery language has\\nits own collection phrases which are gene-\\nrally of a familiar nature, and which occur\\nmost commonly in conversation, or in that\\nspecies of Writing which approaches to the\\nease of conversation.\\nThe translation is perfect, when the trans-\\nlator finds in his own language an idiomatic\\nphrase corresponding to that of the original.\\nMontaigne (Ess. 1. I.e. 29.) says of Gallio,\\nM Lequel ayant ete envoye en exil en Tisle\\nn- 2", "height": "3932", "width": "2396", "jp2-path": "essayonprinciple00wood_0279.jp2"}, "280": {"fulltext": "260 PRINCIPLES OF CHAP. XI.\\nde Lesbos, on fut averti a Rome, quil s y\\na donnoit du bon temps, et que ce qu on lui\\nu avoit enjoint pour peine, lui tournoit a\\ncommodit6. The difficulty of transla-\\nting this sentence lies in the idiomatic\\nphrase, quil s 9 y donnoit du bon temps.\\nCotton finding a parallel idiom in English,\\nhas translated the passage with becoming\\nease and spirit As it happened to one\\nGallio, who having been sent an exile to\\nthe isle of Lesbos, news was not long af-\\nter brought to Rome, that he there lived\\nas merry as the day was long and that\\nwhat had been enjoined him for a pe-\\nnance, turned out to his greatest pleasure\\nand satisfaction. Thus, in another pas-\\nsage of the same author, (Essais, 1. 1. c. 29.)\\n*.Sz feusse He chef de part, j eusse prins\\nautre voye plus naturelle. Had I ruVd\\nthe roast, I should have taken another\\ntc and more natural course. So likewise,\\n(Ess. 1. 1. c. 25.) Mais d y enfoncer plus\\na avant, et de m etre ronge les onglts a\\nV etude a Jristote, monarche de la doc-\\ntrine moderne. Rut, to dive farther\\nthan that, and to have cudgeled my brains", "height": "3932", "width": "2452", "jp2-path": "essayonprinciple00wood_0280.jp2"}, "281": {"fulltext": "CHAP. XI. TRANSLATION. 261\\nin the study of Aristotle, the monarch of\\nall modern learning. So, in the fol-\\nlowing passages from Terence, translated\\nby Echard Credo manibus pedibusque\\nobnixe omnia facturum Andr. Act. 1.\\nI know he ll be at it tooth and nail.\\nHerus, quantum audio, uxore excidit,\\nAndr. Act. 2. For aught I perceive, my\\npoor master may go whistle for a wife.\\nIn like manner, the following collo-\\nquial phrases are capable of a perfect\\ntranslation by corresponding idioms. Rem\\nacu tetigisti, You have hit the nail\\nupon the head. Mihi isthic nee seritur\\nnee metitur, Plaut. That s no bread and\\nbutter of mine. Omnem jecit aleam,\\nIt was neck or nothing with him. Ti *gog\\naX(pira Aristoph. Nub. Will that make\\nthe pot boil\\nIt is not perhaps possible to produce a\\nhappier instance of translation by corre-\\nsponding idioms, than Sterne has given in\\nthe translation of Slawkenbergius s Tale,\\nNihil me poenitet hujus nasi, Quoth Pam-\\nr3", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0281.jp2"}, "282": {"fulltext": "262 principles of chap. xr.\\nphagus that is, my nose has been the ma-\\nli king of me. Nee est cur pceniteat that\\nis, How the deuce should such a nose\\nfail Tristram Shandy, vol. iii. chap. 7.\\nMiles peregrini in faciem snspexit. Di honi y\\nnova forma nasi! The centinel looked up\\ninto the stranger s face. Never saw such\\na nose in his life Ibid.\\nAs there is nothing which so much con-\\nduces both to the ease and spirit of compo-\\nsition, as a happy use of idiomatic phrases,\\nthere is nothing which a translator, who has\\na moderate command of his own language,\\nis so apt to carry to a licentious extreme.\\nEchard, whose translations of Terence and\\nof Plautus, have, upon the whole, much me-\\nrit, is extremely censurable for his intempe-\\nrate use of idiomatic phrases. In the first\\n^ct of the Andria, Davus thus speaks to\\nhimself:\\nEnimvero, Dave, nihil loci est segnitice neque socordice.\\nQuantum intellexi senis sententiam de nuptiis\\nQuae si non astu providentur, me out herum pessundabunt\\nNee quid agam ceitum est, Pamphilumne adjutem an auscid*\\ntem sent.\\nTerent Andr, Act. 1. sc", "height": "3952", "width": "2504", "jp2-path": "essayonprinciple00wood_0282.jp2"}, "283": {"fulltext": "13HAP. XI. TRANSLATION. 263\\nThe translation of this passage by Echard,\\nexhibits a strain of vulgar petulance, whicli\\nis very opposite to the chastened simplicity\\nof the original.\\nWhy, seriously, poor Davy, tis high\\nu time to bestir thy stumps, and to leave off\\ndozing at least, if a body may guess at\\nthe old man s meaning by his mumping.\\nIf these brains do not help me out at a\\ndead lift, to pot goes Pilgarlick, or his\\nmaster, for certain and hang me for a\\ndog, if I know which side to take whe*\\nther to help my young master, or make\\nfair with his father.\\nIn the use of idiomatic phrases, a transla-\\ntor frequently forgets both the country of\\nhis original author, and the age in which he\\nwrote and while he makes a Greek or a\\nRoman speak French or English, he unwit-\\ntingly puts into his mouth allusions to the\\nmanners of modern France or England\\nr4\\nIt is surprising, that this fault should meet even with ap-\\nprobation from so judicious a, critic as Denham. In the pre-", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0283.jp2"}, "284": {"fulltext": "264 PRINCIPLES OF CHAP. XI.\\nThis, to use a phrase borrowed from paint-\\ning, may be termed an offence against the\\ncostume. The proverbial expression, /3ar^a-\\n%a Hug, in Theocritus, is of similar import\\nwith the English proverb, to carry coals to\\nface to his translation of the second book of the iEneid, he\\nsays As speech is the apparel of our thoughts., so there\\nare certain garbs and modes of speaking which vary with\\nec the times the fashion of our clothes being not more sub-\\nject to alteration, than that of our speech and this I think\\nTacitus means by that which he calls Sermonem temporis\\nistius auribus accommodatum, the delight of change being as\\ndue to the curiosity of the ear as of the eye and therefore,\\nif Virgil must needs speak English, it were fit he should\\niC speak, not only as a man of this nation, but as a man of this\\nage. The translator s opinion is exemplified in his prac-\\ntice.\\nInfandum, Regina, jnbes renovare dolorem.\\nMadam, when you command us to review\\nOur fate, you make our old wounds bleed anew.\\nOf such translation it may with truth be said, in the words\\nof Francklin,\\nThus Greece and Rome, in modem dress arrayU,\\nJs but antiquity in masquerade.", "height": "3932", "width": "2492", "jp2-path": "essayonprinciple00wood_0284.jp2"}, "285": {"fulltext": "CHAP. XI. TRANSLATION. 265\\nNewcastle but it would be a gross impro-\\npriety to use this expression in the transla-\\ntion of an ancient classic. Cicero, in his\\noration for Archias, says, Persona quce prop-\\nter otium et studium minime in judiciis pe-\\nriculisque versata est. M. Patru has\\ntranslated this, Un homme que ses etudes\\nu et ses livres ont eloigne du commerce du\\nPalais. The Palais, or the Old Palace\\nof the kings of France, it is true, is the\\nplace where the parliament of Paris and the\\nchief courts of justice were assembled for\\nthe decision of causes but it is just as ab-\\nsurd to make Cicero talk of his haranguing\\nin the Palais, as it would be of his pleading\\nin Westminster Hall. In this respect,\\nEchard is most notoriously faulty We find\\nin every page of his translations of Te-\\nrence and Plautus, the most incongruous\\njumble of ancient and of modern manners.\\nHe talks of the Lord Chief-Justice of\\nAthens, Jam tu autem nobis Prceturam\\ngeris Plaut. Epid. act. 1. sc. 1. and says,\\nI will send him to Bridewell with his skin\\nstripped over his ears, Hominem irriga-\\ntum plagis pistori dabo, Ibid. sc. 3. I must", "height": "3928", "width": "2360", "jp2-path": "essayonprinciple00wood_0285.jp2"}, "286": {"fulltext": "c 266 PRINCIPLES OF CHAP. XI.\\nexpect to beat hemp in Bridewell all the\\ndays of my life, Molendutn mini est us-\\nque in pistrina, Ter. Phormio. act 2. He\\nlooks as grave as an alderman, Tris-\\ntis severitas inest in putty, Ibid Andria,\\nact 5. The same author makes the ancient\\nheathen Romans and Greeks swear British\\nand Christian oaths such as, Fore\\nGeorge, Blood and ounds, Gadzookers,\\nSbuddikins, By the Lord Harry They\\nare likewise well read in the books both\\nof the Old and New Testament Good\\nb ye, Sir Solomon, says Gripus to Tra-\\nehalion, Salve, Thales Ph Rudens, act 4,\\nsc. 3. and Sosia thus vouches his own iden-\\ntity to Mercury, By Jove I am he, and\\nu tis as true as the gospel, Per Jovem\\njnro, mea esse, neque me fa (sum dicer e, PL\\nAmphit act 1. sc. 1 The same ancients,\\nin Mr Echard s translation, are familiarly\\nThe modern air of the following sentence is, however,\\nnot displeasing Antipho asks Cherea, where he has bespoke\\nsupper he answers, Apud libertum Discum, At Discus the\\nfreedman s. Echard, with a happy familiarity, says, At\\nold Harry Platter s. Ter. Eun. act. 3. sc. 5.", "height": "3932", "width": "2492", "jp2-path": "essayonprinciple00wood_0286.jp2"}, "287": {"fulltext": "CHAP. XI. TRANSLATION, 26*7\\nacquainted with the modern invention of\\ngunpowder Had we but a mortar now\\nto play upon them under the covert way,\\none bomb would make them scamper,\\nFun dam tibi nunc nimis vellem dart, ut tu\\nillos procul kinc ex oculto cccderes, facerent\\nfugam, Ter. Eun. act 4. And as their sol-\\ndiers swear and fight, so they must needs\\ndrink like the moderns This god can t af-\\nford one brandy-shop in all his domi-\\nnions, Ne thermopolium qaidem ullum\\ntile instruit, PL Rud. act 2. sc. 9. In the\\nsame comedy, Plautus, who wrote 180 years\\nbefore Christ, alludes to the battle of La\\nHogue, fought A. D. 1692. I ll be as\\ngreat as a king, says Gripus, I ll have\\nc a Royal Sun for pleasure, like the King\\nH of France, and sail about from port to\\nport, Navibus magnis mercaturam faciam,\\nPL Rud. act 4. sc, 2.\\nAlluding to the French Admiral s ship Le Soleil Royal\\nbeaten and disabled by KusselJ.", "height": "3916", "width": "2364", "jp2-path": "essayonprinciple00wood_0287.jp2"}, "288": {"fulltext": "268 PRINCIPLES OF CHAP. XI.\\nIn the Latin Poems of Pitcairne we\\nremark an uncommon felicity in clothing\\npictures of modern manners in classical\\nphraseology. In familiar poetry, and in\\npieces of a witty or humorous nature, this\\nhas often a very happy effect, and exalts the\\nridicule of the sentiment, or humour of the\\npicture. But Pitcairne s fondness for the lan-\\nguage of Horace, Ovid, and Lucretius, has\\nled him sometimes into a gross violation of\\npropriety, and the laws of good taste. In\\nthe translation of a Psalm, we are shocked\\nwhen we find the Almighty addressed by\\nthe epithets of a heathen divinity, and his\\nattributes celebrated in the language and al-\\nlusions proper to the Pagan mythology.\\nThus, in the translation of the 104th Psalm,\\nevery one must be sensible of the glaring\\nimpropriety of the following expressions\\nA poet from whom Dryden and Prior did not disdain to\\ntranslate. See the epitaph on the Viscount of Dundee, trans-\\nlated by Dry den and Gualterus Danistonus ad amkos by-\\nPrior.", "height": "3932", "width": "2488", "jp2-path": "essayonprinciple00wood_0288.jp2"}, "289": {"fulltext": "CHAP. XI. TRANSLATION. 269\\nDexteram invictam canimus, Jovemque\\nQui triumphatis, hominum et Deorum\\nPraesidet regnis\\nQuam tuae virtus tremefecit orbent\\nJuppiter dextrae.\\nEt manus ventis tua Daedaleas\\nAssuit alas.\\nfacile sque leges\\nRebus imponis, quibus antra parent\\njEoli.\\nProluit siccam pluvialis aether\\nBarbam, et arentes humeros Atlantis.\\nQuae fovet tellus, fluidumque regnum\\nTethyos.\\nJuppiter carmen mihi semper.\\nJuppiter solus mihi rex.\\nIn the entire translation of the Psalms\\nby Johnston, we do not find a single in-\\nstance of similar impropriety. And in the\\nadmirable version by Buchanan, there are\\n(to my knowledge) only two passages which", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0289.jp2"}, "290": {"fulltext": "270\\nPRINCIPLES OF CHAP. XI.\\nare censurable on that account. The one\\nis the beginning of the 4th Psalm\\nO Pater, O hominum Divunique aeterna potestas\\nwhich is the first line of the speech of Venus\\nto Jupiter, in the 1 0th iEneid and the other\\nis the beginning of Psalm 82. where two\\nentire lines, with the change of one syllable,\\nare borrowed from Horace\\nRegilm timendorum in proprios greges,\\nReges in ipsos imperium est Jovce.\\nIn the latter example, the poet probably\\njudged that the change of Jovis into Jovce\\nremoved all objection and Ruddiman has\\nattempted to vindicate the Divum of the\\nformer passage, by applying it to saints or\\nangels but allowing there were sufficient\\napology for both those words, the impro-\\npriety still remains for the associated ideas\\npresent themselves immediately to the mind,\\nand we are justly offended with the literal\\nadoption of an address to Jupiter in a hymn\\nto the Creator.", "height": "3932", "width": "2508", "jp2-path": "essayonprinciple00wood_0290.jp2"}, "291": {"fulltext": "CHAP. XI. TRANSLATION. 271\\nIf a translator is bound, in general, to ad-\\nhere with fidelity to the manners of the age\\nand country to which his original belongs,\\nthere are some instances in which he will\\nfind it necessary to make a slight sacrifice\\nto the manners of his modern readers*\\nThe ancients, in the expression of resent-\\nment or contempt, made use of many epi-\\nthets and appellations which sound ex-\\ntremely shocking to our more polished ears,\\nbecause we never hear them employed but\\nby the meanest and most degraded of the\\npopulace. By similar reasoning we must\\nconclude, that those expressions conveyed\\nno such meaning or shocking ideas to the\\nancients, since we find them used by the\\nmost dignified and exalted characters. In the\\n19th book of the Odyssey, Melantho, one\\nof Penelope s maids, having vented her\\nspleen against Ulysses, and treated him as\\na bold beggar who had intruded himself\\ninto the palace as a spy, is thus sharply re-\\nproved by the Queen", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0291.jp2"}, "292": {"fulltext": "272 PRINCIPLES OF CHAP. XI.\\nThese opprobrious epithets, in a literal\\ntranslation would sound extremely offensive\\nfrom the lips of the vrsgi pgm YIvve^oTsia,\\nwhom the poet has painted as a model of\\nfemale dignity and propriety. Such trans-\\nlation, therefore, as conveying a picture\\ndifferent from what the poet intended, would\\nbe in reality injurious to his sense. Of this\\nsort of refinement Mr Hobbes had no idea\\nand therefore he gives the epithets in their\\ngenuine purity and simplicity\\nBold bitch, said she, I know what deeds yOuVe done,\\nWhich thou shalt one day pay for with thy head.\\nWe cannot fail, however, to perceive, that\\nMr Pope has in fact been more faithful to\\nthe sense of his original, by accommodating\\nthe expressions of the speaker to that cha-\\nracter which a modern reader must conceive\\nto belong to her\\nLoquacious insolent, she cries, forbear\\nThy head shall pay the forfeit of thy tongue.\\nPliny, in one of his letters to Nepos,", "height": "3932", "width": "2484", "jp2-path": "essayonprinciple00wood_0292.jp2"}, "293": {"fulltext": "CHAP. XI. TRANSLATION. 273\\n(1. 2. ep. 3.) requests his friend to come\\nand hear Isoeus declaim in the rhetorical\\nschool and as an example of the superior\\neffect o\u00c2\u00a3 hearing an oration delivered, to\\nthat of reading it, or listening to its recital\\nby another, he relates the celebrated saying\\nof iEschines, on occasion of his repeating\\nto the people of Rhodes, the animated ora-\\ntion of Demosthenes in the cause of the\\nCrown T} he, si ctvrx ta Oqgix ctzrixozirs This\\npassage, it is evident, cannot be endured in\\na literal translation. It would carry the\\nidea of a sarcasm or invective of iEschines\\nagainst his rival, instead of the most gene-\\nrous avowal and splendid encomium of his\\npowers of eloquence. Mr Mplmoth accor-\\ndingly does justice to the sentiment in thus\\ntranslating the passage How would you\\nhave been affected, had you heard the\\norator himself thundering out this su-\\nblime harangue But in Lord Orrery s\\ntranslation the sentiment is absolutelv bur-\\nlesqued, by an adherence to the literal in-\\nterpretation What would you have said", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0293.jp2"}, "294": {"fulltext": "274 PRINCIPLES OF CHAP. XI.\\nhad you heard that furious beast roar out\\nhis own words\\nA translator will often meet with idio-\\nmatic phrases in the original author, to\\n(C II faut prendre un milieu entre exactitude trop seru-\\npuleuse qui les deguise (les poetes) et la licence qui les altere.\\nJ apelle deguiser un aUteur, l exposer dans une langue etran-\\ngere avec une fidelite, ou folle, ou maligne, ou supersti-\\ntieuse. Toute langue a ses arrangemens d idees, ses tours,,\\net ses mots, nobles ou bas, energiques ou foibles, vifs ou\\nlanguissans. C est un principe qu on ne sauroit nier. Qui\\nvoudroit traduire les anciens mot pour mot en Francois, et\\nsuivant le tour Grec, les travestiroit sans doute, et les rend-\\nroit ridicules a peu de frais. Voila le premier degre de\\ncette fausse fidelite dont je parle. Le second, et le plus malin,\\nqu on peut appeller Parodie, est de changer les expressions\\nrecues dans le bel usage de Tantiquite, en termes bas et\\npopulaires, comme le faisoit M. Perrault. Le troisieme\\ndegre, c est de s asservir scrupulensement, a exprimer toutes\\nles Epithetes, et a faire d un beau mot Grec une mechante\\nphrase Fran9oise, ou un allongement vicieux qui amortit le\\nfeu des poetes, malgre tout le soin qu ils ont eu d animer leur\\npoesie. On doit a l equite de les faire parler Francois (au-\\ntant qu on le peut) comme ils parleroient eux-memes, s ils\\nfaisoient passer leur pensees en notre langue. Pourquoi\\nchanger en monnoye de cuivre un depot que Ton peut con-\\nserver en or Brum oy, Disc. (Preliminaire) sur le Theatre\\ndes Grecs.", "height": "3956", "width": "2512", "jp2-path": "essayonprinciple00wood_0294.jp2"}, "295": {"fulltext": "CKAP. XI. TRANSLATION. 275\\nwhich no corresponding idiom can be found\\nin the language of the translation. As a\\nliteral translation of such phrases cannot\\nbe tolerated, the only resource is, to ex-\\npress the sense in plain and easy language.\\nCicero, in one of his letters to Papirms\\nPaetus, says, Veni igitur^ si vires, et tUsce\\n4 jam ngoXsyoiisvag quits nuceris etsi sus\\nMinervam Ep. ad Fam. 9. 18. The\\nidiomatic phrase si vires, is capable of a\\nperfect translation by a corresponding idiom\\nbut that which occurs in the latter part of\\nthe sentence, etsi sus Minervam, can nei-\\nther be translated by a corresponding idiom,\\nnor yet literally. Mr Melmoth has thus\\nhappily expressed the sense of the whole\\npassage If you have any spirit then, fly\\nhither, and learn from our elegant bills\\nof fare how to refine your own though,\\nto do your talents justice, this is a sort of\\nu knowledge in which you are much supe-\\nrior to your instructors. Pliny, in one\\nof his epistles to Calvisius, thus addresses\\nhim, Assem para, et accipe aur earn fab ulam\\nfabulas immo nam me priorum nova admo-\\nnuit, lib ep. 20. To this expression, as-\\ns 2", "height": "3928", "width": "2376", "jp2-path": "essayonprinciple00wood_0295.jp2"}, "296": {"fulltext": "2*76 PRINCIPLES OF CHAP. XI*\\nsem para, c. which is a proverbial mode\\nof speech, we have nothing that corre-\\nsponds in English. To translate the phrase\\nliterally would have a poor effect Give\\nme a penny, and take a golden story, or\\na story worth gold. Mr Melmoth has\\ngiven the sense in easy language Are you\\ninclined to hear a story or, if you please,\\ntwo or three for one brings to my mind\\nf another.\\nBut this resource, of translating the idio-\\nmatic phrase into easy language, must fail,\\nwhere the merit of the passage to be trans-\\nlated actually lies in that expression which\\nis idiomatical. This will often occur in\\nepigrams, many of which are therefore in-\\ncapable of translation The following epi-\\ngram of Martial affords a complete example:\\nSemper agis causas, et res agis, Attale, semper\\nEst, non est quod agas, Attale, semper agis\\nSi res et causae desunt, agis, Attale, mulas\\nAttale, ne quod agas desit, agas animam.\\nThus, too, in the following epigram, the point", "height": "3932", "width": "2516", "jp2-path": "essayonprinciple00wood_0296.jp2"}, "297": {"fulltext": "CHAP. XI, TRANSLATION. 277\\nof wit lies in an idiomatic phrase, and i\u00c2\u00a7\\nlost in every other language where the same\\nprecise idiom does not occur\\nOn the wretched imitations of the Diable Boiteux of\\nXjE Sage\\nLe Diable Boiteux est aimable\\nLe Sage y triomphe aujourdhui\\nTout ce qu on a fait apres lui\\nN a pas valu le Diable.\\nWe say in English, Tis not worth a fig,\\nor, tis not worth a farthing but we can-\\nnot say, as the French do, Tis not worth\\nthe devil and therefore the epigram\\ncannot be translated into English.\\nIt is evident, that it is equally impos-\\nsible to translate those epigrams where the\\npoint lies in a pun or play of words in th\u00c2\u00a9\\noriginal language as, for example,\\nAvlog non ersgos mihi sit, mihi qui sit ircciqps\\n\u00c2\u00a7it comis, quisquis vult meus esse comes.\\nOwen i Epigmmmatao\\nS3", "height": "3916", "width": "2368", "jp2-path": "essayonprinciple00wood_0297.jp2"}, "298": {"fulltext": "278 PRINCIPLES OF CHAP. XI.\\nOr another of the same author\\nQuid facies, facies Veneris cum veneris ante\\nNe sedeasj sed eas, ne pereas per eas*\\nEqually incapable of justice in any trans-\\nlation are the following lines of Marot, in\\nhis Epitre au Roi, where the merit lies in\\nthe ludicrous naivete of the last line, which\\nis idiomatical, and has no strictlv corre-\\nsponding expression in English\\nJ avois un jour un valet de Gascogne,\\nGourmand, yvrogne, et assure menteur,\\nPipeur, larron, jureiir, blasphemateur,\\nSentant la hart de cent pas a. la ronde\\nAu demeurant le meilleur Jilz du monde.\\nAlthough we have idioms in English\\nthat are nearlv similar to this, we have none\\nwhich has the same naivete, and therefore\\nno justice can be done to this passage by\\nany English translation.\\nThe following happy imitation of the\\nstyle and manner of Marot, would, on ac-\\ncount of its singular naivetS of expression,\\nprove a finost arduous task to any translator", "height": "3932", "width": "2492", "jp2-path": "essayonprinciple00wood_0298.jp2"}, "299": {"fulltext": "CHAP. XI. TRANSLATION. 279\\nSi n avez point encore tendre amourette,\\nDe tel repos, beau gars, n ayez souci\\nTrop tot viendra jour piteux, ou fillet.te\\nA vous pauvret fera crier merci\\nLe scais par raoi ce que vous dis ici\\nTout comme vous desirai Bachelette,\\nQue bien aimasse et qui m aimat aussi\\nOr, que m est il provenu de ceci\\nPleurai longtems, longtems contai fleurette,\\nEt puis au bout, suis devenu mari.\\nBibliotheque des Amans, par M. Sylvain M. Paris.\\nIf the above is capable of a translation*\\nwhich should do it justice, it must be done\\nby a skilful imitation of its antiquated lan-\\nguage and by the pen of a Pope, or a Haw-\\nkins Browne\\nThe ingenious author of A Pipe of Tobacco, in imitation\\nof the manner of six different English poets and yet more\\ndistinguished for his admirable poem, De Immortalitate Animi 3\\none of the best specimens of the Latin poetry of the mo-\\nflerns.\\n34", "height": "3920", "width": "2364", "jp2-path": "essayonprinciple00wood_0299.jp2"}, "300": {"fulltext": "", "height": "3932", "width": "2492", "jp2-path": "essayonprinciple00wood_0300.jp2"}, "301": {"fulltext": "CHAP. XII. TRANSLATION. 281\\nCHAPTER XII.\\nDifficulty of translating Don Quixote, from\\nits Idiomatic Phraseology.\u00e2\u0080\u0094 Of the best\\nTranslations of that Romance. Compa-\\nrison of the Translation by Motteux with\\nthat by Smollet,\\n1 here is perhaps no book to which it is\\nmore difficult to do perfect justice in a trans-\\nlation than theDonQuixoteof Cervantes. This\\ndifficulty arises from the extreme frequency\\nof its idiomatic phrases. As the Spanish\\nlanguage is in itself highly idiomatical, even\\nthe narrative part of the book is on that ac-\\ncount difficult but the colloquial part is\\nstudiously filled with idioms, as one of the\\nprincipal characters continually expresses", "height": "3916", "width": "2364", "jp2-path": "essayonprinciple00wood_0301.jp2"}, "302": {"fulltext": "282 PRINCIPLES OF CHAP. XII.\\nhimself in proverbs. Of this work there\\nhave been many English translations, exe-\\ncuted, as may be supposed, with vari-\\nous degrees of merit. The two best of\\nthese, in my opinion, are the translations\\nof Motteux and Smollet, both of them\\nwriters eminently well qualified for the task\\nthey undertook. It will not be foreign to\\nthe purpose of this Essay, If I shall here\\nmake a short comparative estimate of the\\nmerit of these translations\\nSmollet inherited from nature a strong\\nsense of ridicule, a great fund of original\\nhumour, and a happy versatility of talent,\\nby which he could accommodate his style\\nto almost every species of writing. He\\ncould adopt alternately the solemn, the live-\\nly, the sarcastic, the burlesque, and the vul-\\nThe translation published by Motteux bears, in the\\ntitle-page, that it is the work of several hands but as of\\nthese Mr Motteux was the principal, and revised and cor-\\nrected the parts that were translated by others, which indeed\\nwe have no means of discriminating from his own, I shall,\\nin the following comparison, speak of him as the authpi; q\u00c2\u00a3\\nthe whole work.", "height": "3932", "width": "2492", "jp2-path": "essayonprinciple00wood_0302.jp2"}, "303": {"fulltext": "CHAP. XII. TRANSLATION. 283\\ngar. To these qualifications he joined an\\ninventive genius, and a vigorous imagina-\\ntion. As he possessed talents equal to the\\ncomposition of original works of the same\\nspecies with the romance of Cervantes so\\nit is not perhaps possible to conceive a wri-\\nter more completely qualified to give a per-\\nfect translation of that romance.\\nMotleux, with no great abilities as an ori-\\nginal writer, appears to me to have been en-\\ndowed with a strong perception of the ri-\\ndiculous in human character a just dis-\\ncernment of the weaknesses and follies of\\nmankind. He seems likewise to have had a\\ngreat command of the various styles which\\nare accommodated to the expression both of\\ngrave burlesque, and of low humour. Inferior\\nto Smollet in inventive genius, he seems to\\nhave equalled him in every quality which\\nwas essentially requisite to a translator of\\nDon Quixote. It may therefore be sup-\\nposed, that the contest between them will\\nbe nearly equal, and the question of prefe-\\nrence very difficult to tie decided. It would\\nhave been so, had Smollet confided in his", "height": "3920", "width": "2368", "jp2-path": "essayonprinciple00wood_0303.jp2"}, "304": {"fulltext": "284 PRINCIPLES OF CHAP. XII,\\nown strength, and bestowed on his task that\\ntime and labour which the length and dif-\\nficulty of the work required but Smollet\\ntoo often wrote in such circumstances, that\\ndispatch was his primary object He found\\nvarious English translations at hand, which\\nhe judged might save him the labour of a\\nnew composition. Jarvis could give him\\nfaithfully the sense of his author and it\\nwas necessary only to polish his asperi-\\nties, and lighten his heavy and awkward\\nphraseology. To contend with Motteux,\\nSmollet found it necessary to assume the\\narmour of Jarvis. This author had pur-\\nposely avoided, through the whole of his\\nwork, the smallest coincidence of expres-\\nsion with Motteux, whom, with equal pre-\\nsumption and injustice, he accuses in his\\npreface of having taken his version\\nwholly from the French We find,\\nThe only French translation of Don Quixote with which\\nI am acquainted;, is that to which is subjoined a continuation\\nof the Knight s adventures, in two supplemental volumes.\\nThis translation, which, from a note on the Dedication, ap-\\npears to he the work of M. Lancelot, has undergone number-*", "height": "3932", "width": "2452", "jp2-path": "essayonprinciple00wood_0304.jp2"}, "305": {"fulltext": "CHAP. XII. TRANSLATION* \u00c2\u00a785\\ntherefore, both in the translation of Jarvis\\nand Smollet, which is little else than an im-\\nproved edition of the former, that there is\\na studied rejection of the phraseology of\\nless editions, and is therefore, I presume, the best perhaps\\nindeed the only one, except a very old version, which is men-\\ntioned in the Preface, as being quite literal, and very antiqua-\\nted in its style. It is therefore to be presumed, that whew\\nJarvis accuses Motteux of having taken his version entirely\\nfrom the French, he refers to that translation above men-\\ntioned, to which Le Sage has given a supplement. If this be\\nthe case, we may confidently affirm, that Jarvis has done Mot-\\nteux the greatest injustice. On comparing his translation\\nwith the French, there is a discrepancy so absolute and uni-\\nversal, that there does not arise the smallest suspicion that he\\nhad ever seen that version. Let any passage be compared\\nud aperturam lihri as, for example, the following:\\nDe simples huttes tenoient lieu de maisons, et de palais\\naux habitans de la terre; les arbres se defaisant d eux-\\nil memes de leurs ecorces, leur fournissoient de quoi couv-\\nrir leurs cabanes, et se garantir de l intemperie des sai-\\nThe tough and strenuous cork-trees did of themselves.,\\nif and without other art than their native liberiility, dismiss\\nand impart their broad, light bark, which served to cover\\nthose lowly huts, propped up with rough-hewn stakes, that\\nff were first built as a shelter against the inclemencies of the", "height": "3912", "width": "2376", "jp2-path": "essayonprinciple00wood_0305.jp2"}, "306": {"fulltext": "286 PRINCIPLES OF CHAP. XII*\\nMotteux. Now, Motteux, though he has\\nfrequently assumed too great a licence, both\\nLa beaute n etoit point un avantage dangereux aiix jeu-\\nnes filles elles alloient librement partout, etalant sans ar-\\ntifice et sans dessein totis les presens que leur avoit fait la\\nNature, sans se cacher davantage, qu autant que Thonne-\\ntete commune a tons les siecles l a toujours demande.\\nThen was the time, when innocent beautiful young\\ntc shepherdesses went tripping over the hills and vales, their\\ntc lovely hair sometimes plaited, sometimes loose and flowing,\\nrt clad in no other vestment but what was necessary to cover\\ndecently what modesty would always have concealed.\\nMotteux.\\nIt will not, I believe, be asserted, that this version of Mot-\\nteux bears any traces of being copied from the French, which\\nis quite licentious and paraphrastical. But when we subjoin\\nthe original, we shall perceive, that he has given a very just\\nand easy translation of the Spanish.\\nLos valientes alcornoques despedian de si dn otro artificio\\nque el de su cortesia, sus anchas y livianas cortezas, sin que se\\ncommenqaron d cubrir las casas, sobre rusticas estacas susien-\\ntadas, no mas que para defensa de las inclemencias del cielo.\\nEntonces si, que andaban las simples y kermosas zagalejas\\nde valle en valle, y de otero en otero, en trenza y en cabello, sin\\nmas vestidos de aquellos que eran menester para cubrir hanesta*\\nmente lo que la honestidad quiere.", "height": "3932", "width": "2472", "jp2-path": "essayonprinciple00wood_0306.jp2"}, "307": {"fulltext": "CttAP. XII. TRANSLATION. 287\\nboth in adding to and retrenching from the\\nideas of his original, has, upon the whole, a\\nvery high degree of merit as a translator.\\nIn the adoption of corresponding idioms he\\nhas been eminently fortunate, and, as in\\nthese there is no great latitude, he has in\\ngeneral preoccupied the appropriate phrases\\nso that a succeeding translator, who proceed-\\ned on the rule of invariably rejecting his\\nphraseology, must have, in general, altered\\nfor the worse. Such, I have said, was the\\nrule laid down by Jarvis, and by his copyist\\nand improver, Smollet, who, by thus absurd-\\nly rejecting what his own judgment and\\ntaste must have approved, has produced a\\nComposition decidedly inferior, on the\\nwhole, to that of Motteux. While I justi-\\nfy the opinion I have now given, by com-\\nparing several passages of both translations,\\nI shall readily allow full credit to the per-\\nformance of Smollet, wherever I find that\\nthere is a real superiority to the work of his\\nrival translator.\\nAfter Don Quixote s unfortunate en-\\ncounter with the Yanguesian carriers, in", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0307.jp2"}, "308": {"fulltext": "288 PRINCIPLES OF CHAP. XII.\\nwhich the Knight, Sancho, and Rozinante*\\nwere all most grievously mauled, his faith-\\nful squire lays his master across his ass, and\\nconducts him to the nearest inn, where a\\nmiserable bed is made up for him in a\\ncock-loft. Cervantes then proceeds as fol-\\nlows\\nEn est a maldita cama se accost 6 Don\\nQuixote y luego la ventera y su hija le em-\\nplastdron de arriba abaxo, alumbrandoles\\nMaritornes que asi se llamaba la Asturia-\\nna. Y como al vizmalle, viese la ventera tan\\nacardenalado partes a Don Quixote, dixo\\nque aquello mas parecian golpes que caida.\\nNofueron golpes, dixo Sancho^ sino que la\\npena tenia muchos picos y tropezones, y que\\ncada uno habia hecho su cardinal, y tambien\\nle dixo haga vuestra merced, senora, de ma-\\nnera que queden algunas estopas, que nofal-\\ntard quien las haya menester, que tambien me\\nduelen a mi un poco los lomos. Desa mane^\\nra, respondio la ventera^ tambien debistes vos\\nde caer No cat, dico Sancho Panza, sino\\nque del sobresalto que tome de ver caer d\\nmi amo, de tal manera me duele a mi el", "height": "3952", "width": "2516", "jp2-path": "essayonprinciple00wood_0308.jp2"}, "309": {"fulltext": "CHAP. XII. TRANSLATION. 289\\ncuerpo, que me parece que me han dado mil\\npalos.\\nTranslation by Motteux.\\nIn this ungracious bed was the Knight\\nu laid to rest his belaboured carcase and\\n44 presently the hostess and her daughter\\nanointed and plastered him all over, while\\n44 Maritornes (for that was the name of the\\nAsturian wench) held the candle. The\\nu hostess, while she greased him, wonder-\\n44 ing to see him so bruised all over, I fan-\\n44 cy, said she, those bumps look much more\\n44 like a dry beating than a fall. Twas no\\ndry beating, mistress, I promise you,\\n44 quoth Sancho but the rock had I know\\nnot how many cragged ends and knobs,\\nand every one of them gave my master a\\n44 token of its kindness. And by the\\n44 way, forsooth, continued he, I beseech\\n44 you save a little of that same tow and\\n44 ointment for me too, for I don t know\\n44 what s the matter with my back, but I\\n44 fancy I stand mainly in want of a little\\nT", "height": "3932", "width": "2316", "jp2-path": "essayonprinciple00wood_0309.jp2"}, "310": {"fulltext": "290 PRINCIPLES OF CHAP. XII.\\ngreasing too. What, I suppose you fell\\ntoo quoth the landlady. Not I, quoth\\nSancho, but the very fright that I took to\\nsee my master tumble down the rock, has\\nso wrought upon my body, that I am as\\nsore as if I had been sadly mauled.\\nTranslation by Smollet.\\nIn this wretched bed Don Quixote ha-\\nving laid himself down, was anointed from\\nhead to foot by the good woman and her\\n4i daughter, while Maritornes (that was the\\nAsturian s name) stood hard by, holding\\na light. The landlady, in the course of\\nher application, perceiving the Knight s\\nwhole body black and blue, observed, that\\nthose marks seemed rather the effects of\\ndrubbing than of a fall but Sancho af-\\nfirmed she was mistaken, and that the\\nmarks in question were occasioned by the\\nknobs and corners of the rocks among\\nwhich he fell. And now, I think of it,\\nu said he, pray, Madam, manage matters\\nso as to leave a little of your ointment,", "height": "3932", "width": "2472", "jp2-path": "essayonprinciple00wood_0310.jp2"}, "311": {"fulltext": "CHAP. XII. TRANSLATION. 291\\nfor it will be needed, I ll assure you my\\nown loins are none of the soundest at\\npresent. What, did you fall too? said\\nshe. I can t say I did, answered the\\nsquire but I was so infected by seeing\\nmy master tumble, that my whole body\\nakes, as much as if I had been cudgelled\\nwithout mercy.\\nOp these two translations, it will hardly\\nbe denied that Motteux s is both easier in\\npoint of style, and conveys more forcibly\\nthe humour of the dialogue in the original.\\nA few contrasted phrases will shew clearly\\nthe superiority of the former.\\nMotteux. In this ungracious ?bed was\\nthe Knight laid to rest his belaboured\\ncarcase.\\nSmollet. In this wretched bed Don\\nQuixote having laid himself down.\\nMotteux. While Maritornes (for that\\nwas the name of the Asturian wench)\\nheld the candle.\\nt 2", "height": "3924", "width": "2364", "jp2-path": "essayonprinciple00wood_0311.jp2"}, "312": {"fulltext": "292 PRINCIPLES OP CHAP. Xlf.\\nSmollet. While Maritornes (that was\\nthe Asturian s name) stood hard by, hold-\\ning a light.\\nMotteux* The hostess, while she grea-\\nsed him.\\nSmollet. The landlady, in the course\\nu of her application.\\nMotteux. I fancy, said she, those\\nbumps look much more like a dry beat-\\ning than a fall.\\nSmollet. Observed, that those marks\\nseemed rather the effects of drubbing than\\nof a fall.\\nMotteux* Twas no dry beating, mis-\\ntress, I promise you, quoth Sancho.\\nSmollet. But Sancho affirmed she was\\nin a mistake.\\nMotteux. And, by the way, forsooth,\\ncontinued he, I beseech you save a little,\\nof that same tow and ointment for me", "height": "3932", "width": "2428", "jp2-path": "essayonprinciple00wood_0312.jp2"}, "313": {"fulltext": "CHAP. XII. TRANSLATION. 293\\nfor I don t know what s the matter with\\nu my back, but I fancy I stand mainly in\\nneed of a little greasing too.\\nSmollet. And now, I think of it, said\\nhe, pray, Madam, manage matters so as\\nto leave a little of your ointment, for it\\nwill be needed, I ll assure you my own\\nloins are none of the soundest at pre-\\nsent.\\nMvtteux* What, I suppose you fell\\ntoo quoth the landlady. Not I, quoth\\nSancho, but the very fright, c.\\nSmollet. What, did you fall too said\\nshe. I can t say I did, answered the\\nsquire but I was so infected, c.\\nThere is not only more ease of expres-\\nsion and force of humour in Motteux s\\ntranslation of the above passages than in\\nSmollet s, but greater fidelity to the origi-\\nnal. In one part, nofueron golpes, Smol-\\nlet has improperly changed the first person\\nfor the third, or the colloquial style for the\\nt3", "height": "3924", "width": "2364", "jp2-path": "essayonprinciple00wood_0313.jp2"}, "314": {"fulltext": "294 PRINCIPLES OP CHAP. XII.\\nnarrative, which materially weakens the spi-\\nrit of the passage. Cada ano habia hecho su\\ncardenal is most happily translated by Mot-\\nteux, every one of them gave him a to-\\nken of its kindness but in Smollet s\\nversion, this spirited clause of the sentence\\nevaporates altogether. Algunas estopas is\\nmore faithfully rendered by Motteux than\\nby Smollet. In the latter part of the pas-\\nsage, when the hostess jeeringly says to\\nSancho, Desa manera tambien debutes vos\\nde caer the squire, impatient to wipe off\\nthat sly insinuation against the veracity of\\nhis story, hastily answers, No cai. To this\\nMotteux has done ample justice, Not I,\\nquoth Sancho. But Smollet, instead of\\nthe arch effrontery, which the author meant\\nto mark by this answer, gives a tame apolo-\\ngetic air to the squire s reply, I can t say\\nI did, answered the squire. Don Quix.\\npar. 1. cap. 16.\\nDon Quixote and Sancho, travelling in\\nthe night through a desert valley, have their\\nears assailed at once by a combination of\\nthe most horrible sounds, the roaring of ca-", "height": "3932", "width": "2500", "jp2-path": "essayonprinciple00wood_0314.jp2"}, "315": {"fulltext": "CHAP. XII. TRANSLATION. 295\\ntaracts, clanking of chains, and loud strokes\\nrepeated at regular intervals all which per-\\nsuade the Knight, that his courage is im-\\nmediately to be tried in a most perilous ad-\\nventure. Under this impression, he felici-\\ntates himself on the immortal renown ha\\nis about to acquire, and, brandishing his\\nlance, thus addresses Sancho, whose joints\\nare quaking with affright\\nAsi que aprieta an poco las cinchas a Eo-\\ncinante y y quedate a Dios y asperame aqui\\nhasta tres dias, no mas, en los quales si no\\nvolviere, puedes tu voloerte a nuestra aldea,\\ny desde alli^ por hacerme merced y buena\\nobra, iras al Toboso, donde divas al i?ico?n-\\nparable seTwra mia Dulcinea, que su cautivo\\ncaballero murio por acometer cosas, que le\\nhiciesen digno de poder llamarse sayo. Don\\nQuix. par. 1. cap. 20.\\nTranslation by Motteux.\\nCome, girth Rozinante straiter, and\\nthen Providence protect thee: Thou may st\\nt 4", "height": "3888", "width": "2340", "jp2-path": "essayonprinciple00wood_0315.jp2"}, "316": {"fulltext": "296 PRINCIPLES OF CHAP. XII*\\nstay for me here but if I do not return\\nin three days, go back to our village, and\\nfrom thence, for my sake, to Toboso,\\nwhere thou shalt say to my incomparable\\nlady Dulcinea, that her faithful knight\\nfell a sacrifice to love and honour, while\\nhe attempted things that might have made\\nhim worthy to be called her adorer.\\nTranslation by Smollet.\\nu Therefore straiten Rozinante s girth,\\nrecommend thyself to God, and wait for\\nme in this place, three days at farthest\\nic w T ithin which time if I come not back,\\nthou mayest return to our village, and,\\nas the last favour and service done to me,\\na go from thence to Toboso, and inform my\\nincomparable mistress Dulcinea, that\\nher captive knight died in attempting\\nthings that might render him worthy to\\nc be called her lover.\\nOm comparing these two translations, that\\nof Smollet appears to me to have better", "height": "3900", "width": "2500", "jp2-path": "essayonprinciple00wood_0316.jp2"}, "317": {"fulltext": "CHAP. XII* TRANSLATION. 297\\npreserved the ludicrous solemnity of the\\noriginal. This is particularly observable in\\nthe beginning of the sentence, where there\\nis a most humorous association of two coun-\\nsels very opposite in their nature, the re-\\ncommending himself to God, and girding\\nRozinante. In the request, and as the\\nu last favour and service done to me, go\\nH from thence to Toboso the tranlations\\nof Smollet and Motteux are, perhaps, near-\\nly equal in point of solemnity, but the sim-\\nplicity of the original is better preserved by\\nSmollet\\nPerhaps a parody was here intended of the famous epi-\\ntaph of Simonides, on the brave Spartans who fell at Ther-\\nmopylae\\nSI |sjv, ecyyuXov AxKiScctftevioig, on tjj^s\\nO stranger, carry back the news to Lacedemon, that\\nf we died here to prove our obedience to her laws/* This,\\nit will be observed, may be translated, or at least closely imi-\\ntated, in the very words of Cervantes divas\u00e2\u0080\u0094 que su ca~\\nballero murio por acometer cosas 3 que le hiciesen digno dz\\npoder Uamarse sugo.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0317.jp2"}, "318": {"fulltext": "298 PRINCIPLES OF CHAP. XII.\\nSancho, after endeavouring in vain to\\ndissuade his master from engaging in this\\nperilous adventure, takes advantage of the\\ndarkness to tie Rozinante s legs together, and\\nthus to prevent him from stirring from the\\nspot which being done, to divert the\\nKnight s impatience under this supposed\\nenchantment, he proceeds to tell him, in his\\nusual strain of rustic buffoonery, a long\\nstory of a cock and a bull, which thus be-\\ngins u Erase que se era, el bien que viniere\\nu para todos sea, y el mal para quien lo fuere\\nu a buscar y advierta vuestra merced, senor\\nmio, que el principio que los antiguos die-\\nvon a sus consejas, nofue asi como quiera y\\nquefue una sentencia de Caton Zonzorino\\nTLomano que dice, y el mal para quien lo\\nfuere a buscar. Ibid.\\nIn this passage, the chief difficulties that\\noccur to the translator are, first the begin-\\nning, which seems to be a customary pro-\\nlogue to a nursery-tale among the Spaniards,\\nwhich must therefore be translated by a cor-\\nresponding phraseology in English j and,\\nsecondly, the blunder of Caton Zonzorino.", "height": "3932", "width": "2504", "jp2-path": "essayonprinciple00wood_0318.jp2"}, "319": {"fulltext": "CHAP. XII. TRANSLATION. 299\\nBoth these are, I think, most happily hit off\\nby Motteux. In the days of yore, when\\nit was as it was, good betide us all, and\\nevil to him that evil seeks. And here,\\nSir, you are to take notice, that they of old\\nu did not begin their tales in an ordinary\\nway for twas a saying of a wise man,\\nwhom they call d Cato the Roman Ton-\\nsor, that said, Evil to him that evil seeks.\\nSmollet thus translates the passage There\\nwas, so there was the good that shall\\nfall betide us all and he that seeks evil\\nmay meet with the devil. Your worship\\nmay take notice, that the beginning of\\nancient tales is not just what came into\\nthe head of the teller no, they always\\nbegan with some saying of Cato, the cen-\\nsor of Rome, like this, of He that seeks\\nevil may meet with the devil.\\nThe beginning of the story, thus transla-\\nted, has neither any meaning in itself, nor\\ndoes it resemble the usual preface of a fool-\\nish tale. Instead of Co ton Zonzorino, a\\nblunder which apologises for the mention of\\nCato by such an ignorant clown as Sancho,", "height": "3916", "width": "2368", "jp2-path": "essayonprinciple00wood_0319.jp2"}, "320": {"fulltext": "300 PRINCIPLES OF CHAP. Xlfr\\nwe find the blunder rectified by Smollet, and\\nCato distinguished by his proper epithet of\\nthe Censor. This is a manifest improprie-\\nty in the last translator, for which no other\\ncause can be assigned, than that his prede-\\ncessor had preoccupied the blunder of Cato\\nthe Tonsor, which, though not a translation\\nof Zonzorino, (the purblind), was yet a very\\nhappy parallelism.\\nIn the course of the same cock-and-bull\\nstory, Sancho thus proceeds A si que,\\nyendo diets y r ciniendo dias el diablo que\\nno duerme y que todo lo anasca, hizo de\\nmanera, que el amor que el pastor tenia a\\nsu pastora se volviese en omecillo y mala vo-\\nluntad, y la causa fuS segun malas lenguas,\\nM una cierta cantidad de zelillos que ella le\\ndid, tales que pasaban de la raya, y llega-\\nban a lo vedado, y fue tanto lo que el pas-\\ntor la aborrecio de alii adelante, que por\\nno verla se quiso ausentar de aquella tierra,\\nu 6 irse donde sus ojos no la viesen jamas la\\nToralva, que se vio desdenada del Lope, lite-\\ngo le quiso Men mas que nunca le habia\\ntt querido. Ibid.", "height": "3932", "width": "2500", "jp2-path": "essayonprinciple00wood_0320.jp2"}, "321": {"fulltext": "CHAP. XII. TRANSLATION, 301\\nTranslation by Motteux.\\nWell, but, as you know, days come\\nand go, and time and straw makes med-\\na lars ripe so it happened, that after seve-\\nral days coming and going, the devil, who\\nseldom lies dead in a ditch, but will have\\na finger in every pye, so brought it about,\\nthat the shepherd fell out with his sweet-\\na heart, insomuch that the love he bore her\\na turned into dudgeon and ill-will and the\\ncause was, by report of some mischievous\\nu tale-carriers, that bore no good-will to ei-\\nther party, for that the shepherd thought\\nher no better than she should be, a little\\nloose i the hilts, c Thereupon being\\ngrievous in the dumps about it, and now\\nbitterly hating her, he e en resolved to\\nleave that country to get out of her sight\\nfor now, as every dog has his day, the\\nwench perceiving he came no longer a\\nsuitering to her, but rather toss d his\\nOne expression is omitted which is a little to^ gross.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0321.jp2"}, "322": {"fulltext": "302 PRINCIPLES OP CHAP. XII.\\nnose at her and shunn d her, she began to\\nlove him, and doat upon him like any\\nthing.\\nI believe it will be allowed, that the above\\ntranslation not only conveys the complete\\nsense and spirit of the original, but that it\\ngreatly improves upon its humour. When\\nSmollet came to translate this passage, he\\nmust have severely felt the hardship of that\\nlaw he had imposed on himself, of invaria-\\nbly rejecting the expressions of Motteux,\\nwho had in this instance been singularly\\nsuccessful. It will not therefore surprise us,\\nif we find the new translator to have here\\nfailed as remarkably as his predecessor has\\nsucceeded.\\nTranslation by Smollet.\\nAnd so, in process of time, the devil,\\nwho never sleeps, but wants to have a fin-\\nger in every pye^ managed matters in\\nsuch a manner, that the shepherd s love\\nfor the shepherdess was turned into ma-", "height": "3956", "width": "2508", "jp2-path": "essayonprinciple00wood_0322.jp2"}, "323": {"fulltext": "CHAP. XII. TRANSLATION. SOS\\nlice and deadly hate and the cause, ac-\\ncording to evil tongues, was a certain\\nquantity of small jealousies she gave him,\\nexceeding all bounds of measure. And\\nsuch was the abhorrence the shepherd\\nconceived for her, that, in order to avoid\\nthe sight of her, he resolved to absent\\nhimself from his own country, and go\\nwhere he should never set eyes on her\\nagain. Toralvo finding herself despised\\nby Lope, began to love him more than\\never.\\nSmollet, conscious that in the above pas-\\nsage Motteux had given the best possible\\nfn e translation, and that he had supplanted\\nhim in the choice of corresponding idioms,\\nseems to have piqued himself on a rigid ad-\\nherence to the very letter of his original.\\nThe only English idiom, being a plagiarism\\nfrom Motteux, wants to have a finger in\\nevery pye seems to have been adopted\\nfrom absolute necessity the Spanish phrase\\nwould not bear a literal version, and no\\nother idiom was to be found but that which\\nMotteux had preoccupied.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0323.jp2"}, "324": {"fulltext": "304 PRINCIPLES OP CHAP. XII.\\nFrom an inflexible adherence to the same\\nlaw, of rejecting the phraseology of Motteux,\\nwe find in every page of this new translation\\nnumberless changes for the worse\\nSe que no mira del mql qjo a la mochacha.\\nu I have observed he casts a sheep s eye\\nat the wench. Motteux.\\nI can perceive he has no dislike to the\\ngirl. Smollet.\\nTeresa me pusieron en el bautismo, nombre\\nmondo y escueto, sin anadiduras, ni cortoyi-\\nzas, ni arrequives de Danes ni Donas.\\nI was christened plain Teresa, without\\nany fiddle-faddle, or addition of Madam,\\nor Your Ladyship. Motteux.\\nw Teresa was I christened, a bare and\\nc simple name, without the addition, garni-\\nture, and embroidery of Don or Donna.\\nSmollet,", "height": "3932", "width": "2496", "jp2-path": "essayonprinciple00wood_0324.jp2"}, "325": {"fulltext": "CHAP. XII# TRANSLATION. 305\\nSigue tu cuento, Sancho.\\nGo on with thy story, Sancho. MoU\\ntern*\\nFollow thy story, Sancho. Smollet*\\nYo confieso que he andado algo risneno en\\ndemasia.\\nI confess I carried the jest too far.\\nMottenx.\\nI see I have exceeded a little in my\\na pleasantry. Smollet.\\nDe mis vinas vengo, no se nada, no soy\\nttmigo de saber vidas agenas.\\nI never thrust my nose into other men s\\nporridge; it s no bread and butter of\\nmine Every man for himself, and God\\nu for us all, say I. Motteuoc,\\nu I prune my own vine, and I know no-", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0325.jp2"}, "326": {"fulltext": "306 PRINCIPLES OF GHAP. XII.\\nthing about thine. I never meddle with\\nother people s concerns. Smollet.\\nY advierta que ya tengo edad para dar\\nconsejos. Quien bien tiene, y mal escoge, por\\nbien que se enoja, no se venga\\nCome, Master, I have hair enough in\\nmy beard to make a counsellor he that\\nwill not when he may, when he will he\\nshall have nay. Motteux.\\nTake notice that I am of an age to give\\ngood counsels. He that hath good in his\\nview, and yet will not evil eschew, his folly\\ndeserveth to rue. Smollet. Rather than\\nadopt a corresponding proverb, as Mot-\\nteux has done, Smollet chuses, in this in-\\nstance, and in many others, to make a pro-\\nverb for himself, by giving a literal version\\nof the original in a sort of doggrel rhyme.\\nThus it stands in all the editions by the Royal Academy\\nof Madrid though in Lord Carteret s edition the latter part\\n\u00c2\u00a9f the proverb is given thus, apparently with more propriety:\\ndel mal que le, viene no se enoje^", "height": "3956", "width": "2516", "jp2-path": "essayonprinciple00wood_0326.jp2"}, "327": {"fulltext": "\u00c2\u00a3HAP. XII, TRANSLATION, 307\\nVive Roque, que es la seuora nuestra ama\\nmas ligera que un alcotan, y que puede ense-\\nnar al mas diestro Cordobes o Meaicano.\\nBy the Lord Harry, quoth Sancho, our\\nLady Mistress is as nimble as an eel.\\nLet me be hang d, if I don t think she\\nmight teach the best Jockey in Cordova or\\nMexico to mount a-horseback. Motteux.\\nBy St Roque, cried Sancho, my Lady\\nMistress is as light as a hawk and can\\nteach the most dextrous horseman to\\nride. Smotlet.\\nThe chapter which treats of the puppet-\\nshow, is well translated both by Motteux\\nand Smollet. But the discourse of the boy\\nwho explains the story of the piece, in Mot-\\nteux s translation, appears somewhat more\\nconsonant to the phraseology commonly\\nu 2\\nMas ligera que un alcotan is more literally translated by\\nSmollet than by Motteux but if Smollet piqued himself en\\nfidelity, why was Cordobes o Mexicano omitted.", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0327.jp2"}, "328": {"fulltext": "308 PRINCIPLES OP CHAP. XII*\\nused on such occasions Now, gentle*\\nmen, in the next place, mark that perso-\\nnage that peeps out there with a crown\\non his head, and a sceptre in his hand\\nThat s the Emperor Charlemain.-^Mind\\nhow the Emperor turns his back up-\\non him. Don t you see that Moor\\nhear what a smack he gives on her\\nr sweet lips, and see how she spits\\nand wipes her mouth with her white\\nsmoke-sleeve. See how she takes on,\\nand tears her hair for very madness,\\nas if it was to blame for this affront.\\nNow mind what a din and hurly-burly\\nthere is. Motteux. This jargon ap-\\npears to me to be more characteristic\\nof the speaker than the following And\\nthat personage who now appears with a\\ncrown on his head and a sceptre in his\\nhand, is the Emperor Charlemagne.- Be-\\nhold how the Emperor turns about and\\nwalks off.\u00e2\u0080\u0094 Don t you see that Moor\\nNow mind how he prints a kiss in the\\nvery middle of her lips, and with what\\neagerness she spits, and wipes them with\\nthe sleeve of her shift, lamenting aloud,\\nand tearing for anger her beautiful hair.", "height": "3932", "width": "2516", "jp2-path": "essayonprinciple00wood_0328.jp2"}, "329": {"fulltext": "CHAP. XII. TRANSLATION. SOS\\n54\\nas if it had been guilty of the trans-\\nc gression\\nIn the same scene of the puppet-show,\\nthe scraps of the old Moorish ballad are\\ntranslated by Motteux with a corresponding\\nnaivete of expression, which it seems to me\\nimpossible to exceed.\\nu3\\nSmollet has here mistaken the sense of the original,\\n\u00e2\u0082\u00acamo si ellos tuvietan la culpa del maleficio She did not\\nblame the hair for being guilty of the transgression or of-\\nfence, but for being the cause of the Moor s transgression, or,\\nas Motteux has properly translated it, this affront. In\\nanother part of the same chapter, Smollet has likewise mista-\\nken the sense of the original. When the boy remarks, that the\\nMoors don t observe much form or ceremony in their judi-\\ncial trials, Don Quixote contradicts him, and tells him there\\nmust always be a regular process and examination of evidence\\nto prove matters of fact, (e para sacar una verdad en Ihnpio,\\nmenester son muchas pruebas y repruebas. Smollet applies\\nthis observation of the Knight to the boy s long-winded story,\\nand translates the passage, There is not so much proof\\nc and counter proof required to bring truth to light. In\\nboth these passages Smojlet has departed from his prototype,\\nJarvis,", "height": "3928", "width": "2364", "jp2-path": "essayonprinciple00wood_0329.jp2"}, "330": {"fulltext": "310 PRINCIPLES OF CHAP. XII*\\nJugando estd a las tablas Don Gayferos,\\nQue ya de Melisendra estd olvidado.\\net Now Gayferos the live-long day,\\ne Oh, errant shame at draughts doth play\\nc And, as at court most husbands do\\ncc Forgets his lady fair and true. Motleiix.\\nNow Gayferos at tables playing,\\nOf Melisendra thinks no more. Smollet.\\nCaballero, si a Francia ides,\\nP w* Gayferos preguntad.\\nQuoth Melisendra, if perchance,\\nSir Traveller, you go for France,\\nFor pity s sake, ask, when you re there,\\nFor Gayferos, my husband dear. Motteux.\\nts Sir Knight, if you to France do go,\\nFor Gayferos inquire. Smollet.\\nHow miserably does the new translation\\nsink in the above comparison Yet Smollet\\nwas a good poet, and most of the verse\\ntranslations interspersed through this work\\nare executed with ability. It is on this head\\nthat Motteux has assumed to himself the", "height": "3932", "width": "2516", "jp2-path": "essayonprinciple00wood_0330.jp2"}, "331": {"fulltext": "CHAP. XII. TRANSLATION. 311\\ngreatest licence. He has very presumptu-\\nously mutilated the poetry of Cervantes, by\\nleaving out many entire stanzas from the\\nlarger compositions, and suppressing some\\nof the smaller altogether Yet the transla-\\ntion of those parts which he has retained,\\nis possessed of much poetical merit and\\nin particular, those verses which are of a\\ngraver cast, are, in my opinion, superior to\\nthose of his rival. The song in the first\\nvolume, which in the original is entitled, (W-\\ncioji de GrisSstorno, and which Motteux has\\nentitled, The Despairing Lover, is greatly\\nabridged by the suppression of more than\\none-half of the stanzas in the original but\\nthe translation, so far as it goes, is highly\\npoetical. The translation of this song by\\nSmollet, though inferior as a poem, is, per-\\nhaps, more valuable on the whole, because\\nmore complete. There is, however, only a\\nsingle passage, in which he maintains with\\nMotteux a contest which is nearly equal\\nu4\\nO thou, whose cruelty and hate.\\nThe tortures of my breast proclaim^\\nBehold, how willingly to fate\\nI offer this devoted frame.", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0331.jp2"}, "332": {"fulltext": "312 PRINCIPLES OF CHAP. XII.\\nIf thou, when I am past all pain,\\nShouldst think my fall deserves a tear,\\nLet not one single drop distain\\nThose eyes, so killing and so clear.\\nNo rather let thy mirth display\\nThe joys that in thy bosom glow\\nAh need I bid that heart be gay,\\nWhich always triumph d in my woe. Smollet.\\nIt will be allowed that there is much me-\\nrit in these lines, and that the last stanza in\\nparticular is eminently beautiful and deli-\\ncate. Yet there is, in my opinion, an equal\\nvein of poetry, and more passion, in the\\ncorresponding verses of Motteux\\nthou, by whose destructive hate\\nI m hurry d to this doleful fate,\\nWhen I m no more, thy pity spare\\n1 dread thy tears oh, spare them then-r*\\nBut, oh I rave, I was too vain\\nMy death can never cost a tear Motteux*\\nIn the song of Cardenio, there is a hap-\\npy combination of tenderness of expression\\nwith ingenious thought the versification is\\nlikewise of a peculiar structure, the second", "height": "3932", "width": "2460", "jp2-path": "essayonprinciple00wood_0332.jp2"}, "333": {"fulltext": "CHAP. XII. TRANSLATION. 313\\nline forming an echo to the first. The song\\nhas been translated in a corresponding mea-\\nsure both by Motteux and Smollet but by\\nthe latter with far inferior merit.\\nCANCION de CARDENIO.\\nL\\nQuien menoscaba mis bienes\\nY quien aumenta mis duelos f\\nLos Zelos*\\nY quien prueba mi paciencia f\\nAusencia,\\nDe ese modo en ml dokncia,\\nNingun remedio se alcanza,\\nPues me matan la Esperanza,\\nDesdenes, Zelos, y Ausencia.\\nII.\\nQuien me causa este dolor\\nAmor,\\nY quien mi gloria repuna f\\nFortuna,\\nY quien consiente mi duelo\\nElCids.", "height": "3920", "width": "2376", "jp2-path": "essayonprinciple00wood_0333.jp2"}, "334": {"fulltext": "314 PRINCIPLES OF CHAP. XII,\\nDe ese modo yo rezeh,\\nMorir deste mal extrano f\\nPues se aunan en mi dano\\nAmor, Fortuna, y el Cielo.\\nIII.\\nQuien mejorard mi suerte\\nLa Muerie.\\nY el bien de amor, quien le alcanza\\nMudanza.\\nY sus malos quien los cura\\nLocura.\\nDe ese modo no es cordura\\nQuerer curar la pasion;\\nQuando los remedios son\\nMuerte, Mudanza, y Locura.\\nCARDENIO S SONG, by MOTTEUX.\\nI.\\nWhat makes me languish and complain\\nO y tis Disdain\\nWhat yet more fiercely tortures me\\nTis Jealousy.\\nHow have I my patience lost\\nBy Absence crost.\\nThen, Hope, farewell, there s no relief;\\nI sink beneath oppressing grief;", "height": "3932", "width": "2492", "jp2-path": "essayonprinciple00wood_0334.jp2"}, "335": {"fulltext": "CHAP. XII. TRANSLATION 315;\\nNor can a wretch, without despair,\\nScorn, Jealousy, and Absence, bear.\\nII.\\nWhat in my breast this anguish drove?\\nIntruding Love.\\nWho could such mighty ills create\\nBlind Fortune s hate.\\nWhat cruel powers my fate approve\\nThe Powers above.\\nThen let me bear, and cease to moan\\nTis glorious thus to be undone\\nW T hen these invade, who dares oppose\\nHeavent, Love, and Fortune are my foes.\\nIII.\\nWhere shall I find a speedy cure,\\nOh Death is sure.\\nNo milder means to set me free\\nInconstancy*\\nCan nothing else my pains assuage\\nDistracting Rage.\\nWhat, die or change Lucinda lose\\nO let me rather madness chuse\\nBut judge, ye gods, what we endure,\\nWhen death or madness are a cure J", "height": "3916", "width": "2376", "jp2-path": "essayonprinciple00wood_0335.jp2"}, "336": {"fulltext": "316 PRINCIPLES OF cHap. xir\u00c2\u00bb\\nIn the last four lines, Motteux has used\\nmore liberty with the thought of the origi-\\nnal than is allowable for a translator. It\\nmust be owned, however, that he has much\\nimproved it.\\nCAitDENICTs S6NG, by SMOLLET.\\nI.\\nAh what inspires my woful strain\\nUnkind disdain!\\nAh I what augments my misery\\nFell Jealousy\\nOr say, what hath my patience worn\\nAn absent lover s scorn\\nThe torments then that I endure\\nNo mortal remedy can cure\\nFor every languid hope is slain\\nBy Absence, Jealousy, Disdain.\\nII.\\nFrom Love, my unrelenting foe,\\nThese sorrows flow\\nMy infant glory s overthrown\\nBy Fortune s frown.\\nConfirm^ in this my wretched state\\nBy the decrees of Fate,", "height": "3932", "width": "2500", "jp2-path": "essayonprinciple00wood_0336.jp2"}, "337": {"fulltext": "X2HAP. XII. TRANSLATION. 317\\nIn death alone I hope release\\nFrom this compounded dire disease,\\nWhose cruel pangs to aggravate,\\nFortune and Love conspire with Fate\\nIll\\nAh what will mitigate my doom\\nThe silent tomfe,\\nAh what retrieve departed joy\\nInconstancy\\nOr say, can ought but frenzy bear\\nThis tempest of despair I\\nAll other efforts then are vain\\nTo cure this soul-tormenting pain,\\nThat owns no other remedy\\nThan madness, death, inconstancy.\\nThe torments then that I endure no\\nu mortal remedy can cure. Who ever\\nheard of a mortal remedy? or who could\\nexpect to be cured by it In the next line,\\nthe epithet of languid is injudiciously gi-\\nven to Hope in this place for a languid or\\na languishing hope was already dying, and\\nneeded not so powerful a host of murder-\\ners to day it, as Absence, Jealousy, and Dis-\\ndain. In short, the latter translation up*", "height": "3924", "width": "2376", "jp2-path": "essayonprinciple00wood_0337.jp2"}, "338": {"fulltext": "318 PRINCIPLES OP CHAP. XII.\\npears to me to be, on the whole, of much\\ninferior merit to the former. I have remark-\\ned, that Motteux excels his rival chiefly in\\nthe translation of those poems that are of a\\ngraver cast. But perhaps he is censurable\\nfor having thrown too much gravity into the\\npoems that are interspersed in this work; as\\nSmollet is blameable on the opposite ac-\\ncount, of having given them too much the\\nair of burlesque. In- the song which Don\\nQyixote composed while he was doing pe-\\nnance in the Sierra-Moreno beginning Ar-\\nboles Yerbas y Plant as, every stanza of which\\nends with Del Toboso, the author intended,\\nthat the composition should be quite cha-\\nracteristic of its author, a ludicrous com-\\npound of gravity and absurdity. In the\\ntranslation of Motteux, there is, perhaps,\\ntoo much gravity but Smollet has render-\\ned the composition altogether burlesque.\\nThe same remark is applicable to the song\\nof Antonio, beginning Yo se Olalla, que me\\nadoras, and to many of the other poems.\\nOn the whole, I am inclined to think,\\nthat the version of Motteux is by far the", "height": "3932", "width": "2524", "jp2-path": "essayonprinciple00wood_0338.jp2"}, "339": {"fulltext": "CHAP. XII. TRANSLATION. 319\\nbest we have yet seen of the Romance of\\nCervantes and that if corrected in its li-\\ncentious abbreviations and enlargements,\\nand in some other particulars which I have\\nnoticed in the course of this comparison, we\\nshould have nothing to desire superior to it\\nin the way oi translation.", "height": "3932", "width": "2312", "jp2-path": "essayonprinciple00wood_0339.jp2"}, "340": {"fulltext": "", "height": "3952", "width": "2452", "jp2-path": "essayonprinciple00wood_0340.jp2"}, "341": {"fulltext": "CHAP. XIII. TRANSLATION. 321\\nCHAPTER XIIL\\nOther Characteristics of Composition, which\\nrender Translation difficult.\u00e2\u0080\u0094 Antiquated\\nTerms New Terms-\u00e2\u0080\u0094 -Verba ardentia.\u00e2\u0080\u0094\\nSimplicity of Thought and Expression In\\nProse\u00e2\u0080\u0094 In Poetry. Naivete in the Lat-\\nter. Chaulieu Parnell Theocritus La\\nFontaine. Series of Minute Distinctions\\nmarked by Characteristic Terms. Strada.\\nFlorid Style and Vague Expression.\\nPliny s Natural History.\\nIn the two preceding chapters I have treat-\\ned pretty fully of what I consider as a prin-\\ncipal difficulty in translation, the permuta-\\ntion of idioms. I shall in this chapter touch\\nupon several other characteristics of compo-\\nse", "height": "3924", "width": "2384", "jp2-path": "essayonprinciple00wood_0341.jp2"}, "342": {"fulltext": "322 PRINCIPLES OF CHAP. XIII.\\nsition which, in proportion as they are found\\nin the original works, serve greatly to en-\\nhance the difficulty of doing complete jus-\\ntice to them in a translation.\\n1. Th poets, in all languages, have a li-\\ncence peculiar to themselves, of employing\\na mode of expression very remote from the\\ndiction of prose, and still more from that of\\nordinary speech. Under this licence, it is\\ncustomary for them to use antiquated terms,\\nto invent new ones, and to employ a glow-\\ning and rapturous phraseology, or what Ci-\\ncero terms Verba ardentia. To do justice\\nto these peculiarities in a translation, by\\nadopting similar terms and phrases, will be\\nfound extremely difficult yet without such\\nassimilation, the translation presents no just\\ncopy of the original. It would require no\\nordinary skill to transfuse into another lan-\\nguage the thoughts of the following passa-\\nges, in a similar species of phraseology", "height": "3928", "width": "2516", "jp2-path": "essayonprinciple00wood_0342.jp2"}, "343": {"fulltext": "CHAP. XIII. TRANSLATION. 323\\nAntiquated Terms\\nFor Nature crescent doth not grow alone\\nIn thews and bulk but as this temple waxes,\\nThe inward service of the mind and soul\\nGrows- wide withal. Perhaps he loves thee now,\\nAnd now no soil nor cautel doth besmirch\\nThe virtue of his will\\nShak. Hamkt, Act. 1.\\nNew Terms\\nSo over many a tract\\nOf heaven they march d, and many a province wide,\\nTenfold the length of this terrene at last\\nFar in th horizon to the north appeard\\nFrom skirt to shirt a fiery region, stretcht\\nIn battailous aspect, and nearer view\\nBristl d with upright beams innumerable\\nOf rigid spears, and helmets throng d, and shields\\nVarious with boastful argument pourtrayed.\\nParadise Lost, B. 6,\\nAll come to this the hearts\\nThat spaniel d me at heels, to whom I gave\\nThe wishes, do discandy\\nShak. Ant. Chop. Act 4. Sc. 10.\\nx2", "height": "3928", "width": "2368", "jp2-path": "essayonprinciple00wood_0343.jp2"}, "344": {"fulltext": "324\\nPRINCIPLES OF CHAP. XIII.\\nGlowing Phraseology, or Verba ardentia\\nPoor naked wretches, wheresoe er ye are,\\nThat bide the pelting of this pitiless storm,\\nHow shall your houseless heads, and unfed sides,\\nYour loop d and window d raggedness defend you\\nFrom seasons such as these Oh, I have ta en\\nToo little care of this Take physic, pomp\\nExpose thyself to feel what wretches feel,\\nThat thou may st shake the superflux to them,\\nAnd show the heavens more just.\\nShak. K. Lear,\\nTremble, thou wretch,\\nThat hast within thee undivulged crimes,\\nUnwhipt of justice Hide thee, thou bloody hand\\nThou perjure, and thou simular of virtue,\\nThat art incestuous Caitiff, shake to pieces,\\nThat under covert and convenient seeming\\nHast practis d on man s life Close pent up guilts,\\nRive your concealing continents, and ask\\nThose dreadful summoners grace. Ibid.\\nCan any mortal mixture of Earth s mould,\\nBreathe such divine, enchanting ravishment\\nSure something holy lodges in that breast.\\nAnd with these raptures moves the vocal air", "height": "3932", "width": "2492", "jp2-path": "essayonprinciple00wood_0344.jp2"}, "345": {"fulltext": "CHAP. XIII. TRANSLATION. 325\\nTo testify his hidden residence\\nHow sweetly did they float upon the wings\\nOf silence, through the empty-vaulted night;\\nAt every fall smoothing the raven down\\nOf darkness till it smil d I have oft heard,\\nAmidst the flow ry-kirtled Naiades,\\nMy mother Circe, with the Sirens three,\\nCulling their potent herbs and baleful drugs,\\nWho, as they sung, would take the prison d soul\\nAnd lap it in Elysium.\\nBut such a sacred, and home-felt delight,\\nSuch sober certainty of waking bliss,\\nI never heard till now,\\nMilton s Comus.\\n2. There is nothing more difficult to imi-\\ntate successfully in a translation than that\\nspecies of composition which conveys just,\\nsimple, and natural thoughts, in plain, un-\\naffected, and perfectly appropriate terms\\nand which rejects all those aucupia sermonis,\\nthose lenocinia verborum? which constitute\\nwhat is properly termed florid or fine revi-\\nling. It is much easier to imitate in a trans-\\nlation that kind of composition, (provided it\\nbe at all intelligible which is brilliant and\\nI add this qualification not without reason, as I intend\\nafterwards to give an example of a species of florid writing)\\nx3", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0345.jp2"}, "346": {"fulltext": "326 PRINCIPLES OP CHAP. XIII.\\nrhetorical, which employs frequent antitheses,\\nallusions, similes, metaphors, than it is to give\\na perfect copy of just, apposite, and natural\\nsentiments which are clothed in pure and\\nsimple language For the former characters\\nare strong and prominent, and therefore\\neasily caught whereas the latter have no\\nstriking attractions their merit eludes alto-\\ngether the general observation, and is dis-\\ncernible only to the most correct and chas-\\ntened taste.\\nIt would be difficult to approach to the\\nbeautiful simplicity of expression of the fol-\\nlowing passages, in any translation.\\nIn those vernal seasons of the year,\\nwhen the air is calm and pleasant, it were\\nan injury and sullenness against Nature,\\nnot to go out to see her riches, and par-\\ntake in her rejoicing with heaven and\\nearth. Milton s Tractate of Education.\\nwhich is difficult to be translated, because its meaning cannot\\nbe apprehended with precision.", "height": "3932", "width": "2524", "jp2-path": "essayonprinciple00wood_0346.jp2"}, "347": {"fulltext": "CHAP. XIII. TKAKSLATIOK. 32?\\nCan I be made capable of such great\\nexpectations, which those animals know\\nu nothing of, (happier by far in this regard\\nthan I am, if we must die alike), only to be\\ndisappointed at last Thus placed, just\\nupon the confines of an other, better world,\\nu and fed with hopes of penetrating into it,\\nand enjoying it, only to make a short ap-\\nu pearance here, and then to be shut out\\nand totally sunk Must I then, when I\\nw bid my last farewell to these walks, when\\na I close these lids, and yonder blue re-\\ngions and all this scene darken upon me\\nand go out must I then only serve to\\nfurnish dust to be mingled with the ashes\\n4i of these herds and plants, or with this\\ndirt under my feet Have I been set so\\nfar above them in life, only to be levelled\\nwith them at death Wollaston s ReL\\nof Nature, sect. ix.\\n3. The union of just and delicate senti-\\nments with simplicity of expression, is more\\nrarely found in poetical composition than in\\nprose; because the enthusiasm of poetry\\nprompts rather to what is brilliant than what\\nx4", "height": "3928", "width": "2368", "jp2-path": "essayonprinciple00wood_0347.jp2"}, "348": {"fulltext": "328 PRINCIPLES OF CHAP. XIII.\\nis just, and is always led to clothe its concep-\\ntions in that species of figurative language\\nwhich is very opposite to simplicity. It is\\nnatural, therefore, to conclude, that in those\\nfew instances which are to be found of a\\nchastened simplicity of thought and ex-\\npression in poetry the difficulty of trans-\\nfusing the same character into a translation\\nwill be great, in proportion to the difficulty\\nof attaining it in the original.\\nIt is not easy to imitate in any transla-\\ntion the beautiful simplicity which charac-\\nterises the following descriptive passage in\\nthe eighth eclogue of Virgil\\nSepibus in nostris, parvam te roscida mala,\\n(Dux ego vester eram,) vidi cum matre legentem\\nAlter ab undecimo turn me jam ceperat annus\\nJam fragiles poteram a terra, contingere ramos\\nUt vidi, ut perii, ut me malus abstulit error\\nThe kindred genius of Tasso in a corre-\\nsponding passage of his Aminta, has here\\nhappily rivalled his master\\nEssendo io fanciulletto si che a pena\\nGiunger potea con la man pargollett^", "height": "3924", "width": "2524", "jp2-path": "essayonprinciple00wood_0348.jp2"}, "349": {"fulltext": "CHAP. XIII. TRANSLATION. 329\\nA corre i frutti dai piegati rami\\nDa gli arboscelli, intrinseco divenni\\nDe la piu vaga e cara virginella\\nChe mai spiegasse al vento chioma d oro.\\nOf a similar character, and therefore alike\\ndifficult to be justly translated, is that beau-\\ntiful description of the night, in the fourth\\nbook of the iEneid\\nNox erat, et placidum carpebant fessa soporem\\nCorpora per terras,, sylvaeque et saeva quierant\\njEquora cum medio volvuntur sidera lapsu\\nCum tacet omnis ager, pecudes, pictaeque volucres,\\nQuaeque lacus late liquidos, quaeque aspera dumis\\nRura tenent, somno positae sub nocte silenti\\nLenibant curas, et corda oblita laborum.\\nOf the same character are the following\\nbeautiful passages from Chaulieu\\nFontenay, lieu delicieux,\\nOa je vis d abord la Iumiere,\\nBientot au bout de ma carriere,\\nChez toi je joindrai mes ayeux.\\nMuses, qui dans ce lieu champetre\\nAvec soin me fites nourrir,", "height": "3924", "width": "2376", "jp2-path": "essayonprinciple00wood_0349.jp2"}, "350": {"fulltext": "380 PRINCIPLES OF CHAP. XIII*\\nBeaux arbres, qui m avez vu naitre,\\nBientot vous me verrez mourir.\\nLes fouanges de la vie champetre*\\nJe touche aux derniers instans\\nDe mes plus belles annees,\\nEt tieja de mdn printems\\nToutes les fleurs sont fanees.\\nJe ne vois., et n en visage\\nPour mon arriere saison,\\nQue le malheur d etre sage,,\\nEt l inutile avantage\\nDe connoitre la raison.\\nAutrefois mon ignorance\\nMe fournissoit des plaisirs\\nLes erreurs de l esperance\\nFaisoient naitre mes desirs.\\nA present 1 experience\\nM apprend que la jouissance\\nDe nos biens les plus parfaitSj\\nNe vaut pas l impatience,\\nNi Tardeur de nos souhaits.\\nLa Fortune a ma jeunesse\\nOffrit l eclat des grandeurs\\nComme un autre avec souplesse^\\nJ aurois brigue ses faveurs.", "height": "3924", "width": "2484", "jp2-path": "essayonprinciple00wood_0350.jp2"}, "351": {"fulltext": "CHAP. XIII. TRANSLATION. 331\\nMais sur le peu de merite\\nDe ceux qu elle a bien traites,\\nJ eus honte de la poursuite\\nDe ses aveugles bontes\\nEt je passai, quoique donne\\nD eclat, et pourpre, et couronne,\\nDu mepris de la personne,\\nAu mepris des d ignites\\nPoesies diverses de Chaulieu, p. 44.\\nThe following translation of these verses by Parnell, is\\nat once a proof that this pleasing poet felt the characteristic\\nmerit of the original, and that he was unable completely t#\\nattain it.\\nMy change arrives the change I meet\\nBefore I thought it nigh\\nMy spring, my years of pleasure fleet.\\nAnd all their beauties die.\\nIn age I search, and only find\\nA poor unfruitful gain,\\nGrave wisdom stalking slow behind,\\nOppressed with loads of pain.\\n.My ignorance could once beguile,\\nAnd fancied joys inspire\\nMy errors cherish d hope to smile\\nOn newly-born desire.", "height": "3912", "width": "2292", "jp2-path": "essayonprinciple00wood_0351.jp2"}, "352": {"fulltext": "832 PRINCIPLES OF CHAP. XIII,\\nOf a. similar character to that of the pre-\\nceding examples, is that beautiful moral\\nBut now experience shews the bliss\\nFor which I fondly sought,\\nNot worth the long impatient wish\\nAnd ardour of the thought.\\nMy youth met fortune fair array d,\\nIn all her pomp she shone,\\nAnd might, perhaps, have well essay d\\nTo make her gifts my own.\\nBut when I saw the blessings show r\\nOn some unwilling mind,\\nI left the chace, and own d the pow r\\nWas justly painted blind.\\nI pass d the glories which adorn\\nThe splendid courts of kings,\\nAnd while the persons mov d my scorn,\\nI rose to scorn the things.\\nIn this translation, which has the merit of faithfully trans-\\nfusing the sense of the original, with a great portion of its\\nSimplicity of expression, the following couplet is a very faulty\\ndeviation from that character of the style.\\nMy errors cherish d hope to smile\\nOn newly-born desire.", "height": "3928", "width": "2472", "jp2-path": "essayonprinciple00wood_0352.jp2"}, "353": {"fulltext": "CHAP. XIII. TRANSLATION. 33\\nthought in the Elegy on Bion, by Theocri-\\ntus or Moschus, of which the simplicity of\\nthe expression is so consonant to the ten-\\nderness of the sentiment\\nAh at, rot,} {LoCko\\\\ytLi ^iv y \\\\i:o\\\\v zoclct ztiftoy oXavjou\\nH to\\\\ j/kwgci (TzKivct, to t ivQcCkzg %\\\\ov av7i6ov 9\\niTfegov ocu Zpovli) Tcoii Big irog aAAo pvov]i\\nAp zg (foi {A yoiXoi zou kcl^i^oi rj ro(poi oitysg,\\nQTrTrore ngarct, Bocyafteg, avcczoot iv yjBovt zo iXcx,\\nJLvdopusg iv [aoiXoi {Aotzgov olrzgfAova, vqygilov vimo*.\\nThis fine passage, which draws a sympa-\\nthetic accord from every human breast, has\\nbeen translated and imitated, perhaps, more\\nfrequently than any other in the works of\\nthe ancients. I know not, if it has ever\\nmet with greater justice than in the follow-\\ning translation by Helius Eobanus, in his\\nLatin version of the Idyllia of Theocritus\\nHei mihi, quod malvae virides et adhuc redolentes\\nAtque apium viride, et quod totum floret anethum,\\nSaepe reviviscunt, et in annum deinde reverso\\nSole renascuntur nos magni, nosque potentes", "height": "3928", "width": "2368", "jp2-path": "essayonprinciple00wood_0353.jp2"}, "354": {"fulltext": "S34\\nPRINCIPLES OF\\nCHAP. XIII.\\nQuum semel occidimus, quam primum fata subimus,\\nCondimur in terrain, atque intra cava busta reclusi\\nPerpetuo durum dorraimus tempore somnum\\nThe inspired writer of the book of Job has conveyed the\\nsame sentiment, in language which has added the sublime to\\nthe simply beautiful Thus happily expressed in the Septua-\\ngint translation.\\n1. Bgojog yu.% ymnlos yvvotiKo$ oXtyefiiog, kcc) ttA^j \u00c2\u00bb\u00c2\u00a7yifc\\n2. *H wV?rsg ccvQos ccv67} rec9 \u00c2\u00a3|s9T\u00c2\u00a3c gv et7riO\u00c2\u00a3 05 uxr-ai^ crux, xxi ou\\n7. \u00c2\u00a3s i yu% $gy$g0 IXsrtg, luy yoi( hoco-ay, in bravDnotf, xau o f tc~\\nSccpvos xvrS ov py) \\\\x.Xu7rv\\\\.\\n8. Eoiv ya.^ yug try Iv yy n yi^ee, avrtt, h ol mr( o6 TiXsvliirr, to rsto-\\n\u00c2\u00a30$ MVTfiy\\nQ. A^ro orftife v^otlos otvSvtrzi, %-oi^ rii ol fagurf h, \u00c2\u00bbWgg noQvloV\\n10. Av jg \u00c2\u00a3s TiXtvlvrxs 6 xfl* Prolog hx, in lerri.\\n1. Man that is born of a woman, is of few days, and full of\\ntrouble.\\n2. He cometh forth like a flower and is cut down he fli-\\neth also as a shadow, and continueth not.\\n7. For there is hope of a tree, if it be cut down, that it will\\nsprout again, and that the tender branch thereof will not\\ncease.\\n8- Though the root thereof wax old in the earth, and the\\nstock thereof die in the ground\\n9. Yet through the scent of water it will bud, and will bring\\nforth boughs like a plant.\\n10. But man dieth, and wastethaway: yea, man giveth\\nup the ghost, and where is he", "height": "3932", "width": "2480", "jp2-path": "essayonprinciple00wood_0354.jp2"}, "355": {"fulltext": "CHAP. XIII. TRANSLATION. 335\\n4. The foregoing examples exhibit a spe-\\ncies of composition, which uniting just and\\nnatural sentiments with simplicity of ex-\\npression, preserves at the same time a con-\\nsiderable portion of elevation and dignity,\\nBut there is another species of composition,\\nwhich, possessing the same union of natural\\nsentiments with simplicity of expression, is\\nessentially distinguished from the former,\\nby its always partaking in a considerable\\ndegree of comic humour. This is that kind\\nof writing which the French characterise by\\nthe term ndij\\\\ and for which we have no\\nperfectly corresponding expression in Eng\u00c2\u00bb.\\nlish. Le naif, says Fontenelle, est une\\nnuance du bas\\nMarmontel disputes this opinion, and holds that there\\nmay be a naivete noble, of which he gives an example in the\\nscene between Joas and Athalie Joas. Quel pere je quit-\\nterois et pour Ath. Eh bien Joas. Pour quelle\\nee mere This may be termed a noble ingenuity but it-\\nhas too much grandeur to come under the description of\\nnaivete. Voltaire likewise is of opinion that there may be\\na naivete without any mixture of lowness and gives an ex-\\nample from his own writings, which, perhaps, will not gene-\\nrally be thought a very happy one. In a letter to M. D Ar-", "height": "3924", "width": "2296", "jp2-path": "essayonprinciple00wood_0355.jp2"}, "356": {"fulltext": "386\\nPRINCIPLES OF\\nCHAP; -XIII.\\nIn the following fable of Phaedrus, there\\nis a naivety which I think it is scarcely pos-\\nsible to transfuse into any translation\\nInops potentem dnm vult imitari, perit.\\nIn prato quaedam rana conspexit bovem\\nEt, tacta invidia tanta? magnitudinis,\\nRugosam inflavit pellem turn natos suos\\nInterrogavit, an bove esset latior.\\nllli negarunt. Rursus intendit cutem\\ngental, in allusion to the character of Sanckette, in his co-\\nmedy of La Princtsse de Navarre, he says, Comment avez\\nvous pu jamais imaginer que le has put se glisser dans ce\\nrole Comment est-ce que la naivete d une jeune personne\\nfe ignorante, et a qui le nom seul de la cour tourne la tete,\\npeut tomber dans le bas ne voulez vous pas distinguer le\\nbas du families et le na if de Tun et de l autre These\\nremarks are in this instance at least, misapplied and are\\nevidently the fruit of an author s partiality for his own com-\\npositions. The character which he is thus endeavouring\\nto vindicate, will probably appear faulty to every reader of\\ntaste, in respect of its lowness and absurdity. Should we\\ndesire an example of the true naif with the least possible in-\\ntermixture of the low, we have it in the admirably drawn\\ncharacter of Emily Jarvis in Richardson s Sir Charles Gran*\\ndison.", "height": "3932", "width": "2484", "jp2-path": "essayonprinciple00wood_0356.jp2"}, "357": {"fulltext": "CHAP. XIII. TRANSLATION. 387\\nMajore nisu,,et simili quaesivit modo\\nQnis major esset Illi dixerunt, bovent.\\nNovissime indignata, dum vult validius\\nInflare sese, rupto jacuit corpore.\\nIt would be extremely difficult to attain,\\nin any translation, the laconic brevity with\\nwhich this storv is told. There is not a\\nsingle word which can be termed superflu-\\nous yet there is nothing wanting to com-\\nplete the effect of the picture. The gra-\\nvity, likewise, of the narrative, when ap-\\nplied to describe an action of the most con-\\nsummate absurdity the self-important, but\\nanxious questions, and the mortifying dry-\\nness of the answers, furnish an example of\\na delicate species of humour, which cannot\\neasily be conveyed by corresponding terms\\nin another language. La Fontaine was bet-\\nter qualified than any other for this attempt.\\nHe saw the merits df the original, and has\\nendeavoured to rival them but even La\\nFontaine has failed\\nUne Grenouille vit un boeuf\\nQui lui sembla de belle taille.", "height": "3924", "width": "2364", "jp2-path": "essayonprinciple00wood_0357.jp2"}, "358": {"fulltext": "338 PRINCIPLES OF CHAP. XIII.\\nElle, qui n etoit pas grosse en tout comme un oeuf,\\nEnvieuse s etend, et s enfle, et se travaille,\\nPour egaler l animal en grosseur\\nDisant, Regardez bien ma soeui^\\nEst-ce assez, dites moi, n y suis-je pas encore\\nNenni. M y voila done Point du tout. M y voila\\nVous n en approchez point. La chetive pecore\\nS enfla si bien quelle creva.\\nLe monde est plein de gens qui ne sont pas plus sages\\nTout bourgeois veut batir comme les grands seigneurs\\nTout prince a des ambassadeurs,\\nTout marquis veut avoir des pages.\\nBut La Fontaine himself, when original^\\nmay equally defy the powers of a translator.\\nThe source of that naivete, which is the cha-\\nracteristic of his fables, has been ingenious-\\nly developed by Marmontel Ce n est\\npas un poete qui imagine, ce n est pas un\\nconteur qui plaisante e est un temoin\\npresent a Taction, et qui veut vous rendre\\npr6sent vous-meme. II met tout en\\noeuvre de la meillure foi du monde pour\\nvous persuader et ce sont tous ces efforts,\\ne est le serieux avec lequel il m\u00c2\u00a3le les plus\\ngrandes choses avec les plus petites\\ne est l importance qu il attache a des", "height": "3932", "width": "2480", "jp2-path": "essayonprinciple00wood_0358.jp2"}, "359": {"fulltext": "CHAP. XIII. TRANSLATION. 339\\njeux d enfans c est Finter6t qu il prend\\npour un lapin et une belette, qui font\\nqu on est tente de s 6crier a chaque in-\\nstant, Le bon homme On le disoit de lui\\ndans la societe. Son caractere n a fait\\nque passer dans ses fables. C est du fond\\nde ce caractere que sont emanes ces tours\\nsi naturels, ces expressions si naives, ces\\nu images si fideles.\\nIt would seem almost impossible to do\\njustice in a translation to the natural and\\neasy humour which characterises the dia-\\nlogue in the following fable\\nLes Animaux malades de la Pesie,\\nUn mal qui repand la terreur,\\nMai que le ciel en sa fureur\\nInventa pour punir les crihies de la terre,\\nLa Peste, (puis qu il faut l apeller par son nom),\\nCapable d enrichir en un jour 1 Acheron,\\nFaisoit aux animaux la guerre.\\n\u00c2\u00abls ne mouroient pas tous, mais tous etoient frappes,\\nY 2", "height": "3932", "width": "2388", "jp2-path": "essayonprinciple00wood_0359.jp2"}, "360": {"fulltext": "340 PRINCIPLES OF CHAP. XIII.\\nOn n en voyoit point d occupes\\nA chercher le soutien d une raourante vie\\nNul raets n excitoit leur envie.\\nNi loups ni renards n epioient\\nLa douce et l innocente proye.\\nLes tourterelles se fuyoient\\nPlus d amour, partant plus de joye.\\nLe Lion tint conseil, et dit, Mes chers amis,\\nJe crois que le ciel a permis\\nPour nos peches cette infortune\\nQue le plus coupable de nous\\nSe sacrifie aux traits du celeste courroux\\nPeutetre il obtiendra la guerison commune.\\nL histoire nous apprend qu en de tels accidens^\\nOn fait de pareils devouemens\\nNe nous flattons done point, voyons sans indulgence\\nL etat de notre conscience.\\nPour moi, satisfaisant mes appetits gloutons\\nJ ai devore force moutons j\\nQue m avoient-ils fait Nulle offense\\nMeme il m est arrive quelquefois de manger le Berger,\\nJe me devourai done, s ils le faut mais je pense\\nQu il est bon que chacun s accuse ainsi que moi\\nCar on doit souhaiter, selon toute justice,\\nQue le plus coupable perisse.\\nSire, dit le Renard, vous etes trop bon roi\\nVos scrupules font voir trop de delicatesse\\nEh bien, manger moutons, canaille, sotte espece", "height": "3932", "width": "2476", "jp2-path": "essayonprinciple00wood_0360.jp2"}, "361": {"fulltext": "CHAP. XIII. TRANSLATION. I 341\\nEst-ce un peche Non, non Vous leur fites, seigneur,\\nEn les croquant beaucoup d honneur\\nEt quant au Berger, Ton peut dire\\nQu il etoit digne de tous maux,\\nEtant de ees gens-la qui sur les animaux\\nSe font un chimerique empire.\\nAnsi dit le Renard, et flatteurs d applaudir.\\nOn n osa trop approfondir\\nDu Tigre, ni de l Ours, ni des autres puissances\\nLes moins pardonnables offenses.\\nTous les gens querelleurs, jusqu aux simple matins\\nAu dire de chacun, etoient de petits saints.\\nL ane vint a son tour, et dit, J ai souvenance\\nQu en un pre de moines passant,\\nLa faim, l occasion, l herbe tendre, et je pense\\nQuelque diable aussi me poussant,\\nJe tondis de ce pre la largeur de ma langue\\nJe n en avois mil droit puisqu il faut parler net.\\nA ces mots on cria haro sur le baudet\\nUn Loup quelque peu clerc prouva par sa harangue\\nQu il falloit devoiier ce maudit animal,\\nCe pele, ce galeux, d ou venoit tout leur mal.\\nSa peccadille fut jugee un cas pendable\\nManger l herbe d autrui, quel crime abominable\\nRien que la mort n etoit capable\\nI^expier son forfait, on le lui fit bien voir.\\nSelon que vous serez puissant ou miserable,\\nJ,es jugemens de cour vous rendront blanc ou nojr.\\ny 3", "height": "3924", "width": "2360", "jp2-path": "essayonprinciple00wood_0361.jp2"}, "362": {"fulltext": "342\\nPRINCIPLES OF\\nCHAP. XIIL\\nThe French critics have ranked La Fon-\\ntaine among those authors whom it is impos-\\nsible to translate. An ingenious writer,\\nMr Thiebault, thus assigns the reason\\nLe merite de ce poete est trop intime-\\nment fonde dans le genie et toutes les\\ndelicatesses de notre langue, pour que\\ndes etrangers puissent le bien sentir. La\\nFontaine est done celui de nos po etes,\\nenvers lequel on est le plus injuste hors\\nde France, par la meme raison qui ne\\nnous permet d en parler que dans les\\ntermes de la plus vive admiration. C est\\nencore pour la meme raison que je le\\nplace a la tete de tous les auteurs qui\\nsont essentiellement intraduisibles. Par-\\ntout il decouvre et saisit l expression et\\nle tour qui semblent faits pour l objet et\\npour la nuance de sentiment qu il veut\\nu rendre. La Fontaine est le plus Fran9ais\\nde tous nos ecrivains\\nu\\na\\na\\nSouvenirs de 20 ans a Berlin, par Thiebault, vol i,\\np. 162.", "height": "3928", "width": "2436", "jp2-path": "essayonprinciple00wood_0362.jp2"}, "363": {"fulltext": "CHAP. XIII. TRANSITION. 343\\nDesbillons, an author of very high merit\\namong the modern Latin poets, who rivals,\\nin4iis Fahuke TEsopice, the naivete of Phas-\\ndrus, and who unites to that quality an ele-\\ngance, tenderness, and even dignity of\\ncomposition, together with the purest La-\\ntinity has adopted many of the fables of\\nLa Fontaine but judiciously limiting him-\\nself to an imitation of the manner of his\\noriginal he never attempts to discharge the\\nduty of a translator. If we compare his\\nTielliKB pestilentid laboranies, with its origi-\\nnal, Les animaux malades de la peste, (above\\ninserted), we shall have a just idea of per-\\nfect imitation, as distinguished from poeti-\\ncal translation f\\nOf a similar character for perfect naivety\\nis an exquisite fable, entitled Asinas Judex,\\ny4\\nIn justification of this praise, the reader is referred to\\nthe Fable,, entitled Philomela, Corvus et Bubo, at NO. 4. of\\nthe Appendix.\\nSee Appendix, NO. 5,", "height": "3916", "width": "2376", "jp2-path": "essayonprinciple00wood_0363.jp2"}, "364": {"fulltext": "344 PRINCIPLES OF CHAP. XIII.\\nwhich Menage has inserted with just enco-\\nmium in his Anti-Baillet and which I am\\npersuaded every reader of taste will forgive\\nme for here introducing\\nAsinus Ji de\\nTabula Commerii. (Pere Commire.)\\nAnimalia inter orta cum contentio\\nMagna esset olim, sedet asinus arbiter\\nQuippe aurium mensura liberation\\nEt ore toto fusa simplicitas, probi\\nAtque patientis judicis spem fecerant.\\nPrimae ad tribunal se novum sistunt apes^\\nDirepta questae mella fucorum dolo,\\nCellasque inanes. Innocentes ille apes\\nVoce altiore, ceu nocentes, increpat\\nFucosque labis integros pronuncians,\\nDat habere ceras, et favis apum frui.\\nClangore post haec anser obstrepens gravi,\\nDato libello supplice, orat ut sibi\\nSociisque liceat flumina. et lacus sacros.\\nCignis repulsis, colere. Praeses annuit,\\nEcce Philomelen Gracculus lacesserej\\nEt vocis audax poscere sibi gloriam.\\nLitem, inquit, asini finiat sententia.\\nJubentur ambo canere. Luscinia incipit^", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0364.jp2"}, "365": {"fulltext": "CHAP. XIII. TRANSLATION, 345\\nAniraosque teneris omnium ac sensus modis\\nDemulcet. Ipsae carmine inflexae caput,\\nEt lenta motant brachia in numerum llices.\\nNecquicquam. Ineptis plus probatur auribus,\\nRude murmur atque stridor absurdae alitis.\\nQuid multa fortem vicit, illo judice,\\nColumbus aquilam. Pulchrior picto fuit\\nPavone corvus ovis lupo voracior.\\nViilpes, iniqua scita sibilantibus,\\nAliud ab illo nil, ait, speraveramj\\nCujus palato carduus gratum sapit.\\nThere are here many strokes of the true\\nnaivete, which is the characteristic of a good\\nfable, and of which Phsedrus is the perfect\\nmodel. The 3d, 4th and 5th lines are pe-\\nculiarly happy. The judge never hears\\nmore than one side, and instantly decides\\nin a high tone of confident absurdity. The\\nGoose demands exclusive possession of the\\nwaters, and the expulsion of the Swans\\nPrdfscs annuit. The Bees complain that the\\nDrones consume the fruit of their labour.\\nThe Judge instantly condemns the Bees\\nto banishment, and decrees full possession", "height": "3912", "width": "2376", "jp2-path": "essayonprinciple00wood_0365.jp2"}, "366": {"fulltext": "346 PRINCIPLES OF CHAP. XIII.\\nof the hives and combs to the Drones.\\nThe Fox draws the moral very happily\\nAliud ab illo nil, ait, speraveram,\\nCujus palato carduus gratum sapit.\\nWhat powers must the writer possess who\\nis capable of doing full justice to this ex-\\nquisite morsel in any translation\\n5. No compositions will be found more\\ndifficult to be translated, than those descrip-\\ntions, in which a series of minute distinc-\\ntions are marked by characteristic terms,\\neach peculiarly appropriated to the thing to\\nbe designed, but many of them so nearly\\nsynonymous, or so approaching to each\\nother, as to be clearly understood only by\\nthose who possess the most critical know-\\nledge of the language of the original, and a\\nvery competent skill in the subject treated of.\\nI have always regarded Strada s contest of\\nthe Musician and Nightingale, as a compo-\\nsition which almost bids defiance to the art\\nof a translator. The reader will easily per-\\nceive the extreme difficulty of giving the", "height": "3932", "width": "2440", "jp2-path": "essayonprinciple00wood_0366.jp2"}, "367": {"fulltext": "CHAP. XIII. TRANSLATION. 347\\nfull, distinct, and appropriate meaning of\\nthose expressions marked in Italics.\\nJam Sol a medio pronus deflexerat orbe,\\nMitius e radiis vibrans crinalibus ignem\\nCum fidicen propter Tiberina fluenta, sonanti\\nLenibat plectro curas, aestumque levabat,\\nIlice defensus nigra, scenaque virenti.\\nAudiit hunc hospes sylvae philomeia propinquae,\\nMusa loci, nemoris Siren, inoxia Siren\\nEt prope succedens stetit abdita frondibus, alte\\nAccipiens sonitum, seciimque remurmurat, et quos\\nIlle modos variat digitis, hasc gutture reddit.\\nSensit se fidicen philomeia imitante referri,\\nEt placuit ludum volucri dare plenius ergo\\nExplorat citharam, tentamentumque futurae\\nPraebeat ut pugnae, percurrit protinus omnes\\nImpulsu pernice fides. Nee segnius ilia\\nMille per excurrens variae discrimina vocis,\\nVenturi specimen praefert argutula cantus.\\nTunc fidicen per fila movens trepidantia dextram..\\nNunc contemnenti similis diverberat ungue,\\nDepectitque pari chordas et simplice ductu\\nNunc carptim replicat, digitisque micantibus urget,\\nFila minutatim, celerique repercutit ictu.\\nMox silet. Ilia modis totidem respondet, et artem", "height": "3928", "width": "2364", "jp2-path": "essayonprinciple00wood_0367.jp2"}, "368": {"fulltext": "348 PRINCIPLES OF CHAP. XIII,\\nArte refert. Nunc, ceu rudis aut incerta canendi,\\nProjicit in longum nulloque plicatile jiexu,\\nCarmen init simili serie, jugique tenore\\nPrsebet iter liquidum labenti e pectore voci\\nNunc ccesim variat, modulisque canora minutis\\nDelibrat vocem, tremuloque reciprocat ore.\\nMiratur fidicen parvis e faucibus ire\\nTarn varium, tarn duke melos majoraque tentans,\\nAlternat mira artejides; dum torquet acutas\\nInciditque, graves operoso verbere pulsat,\\nPermiscetque simul certantia rauca sonoris\\nCeu resides in bella viros clangore lacessat.\\nHoc etiam philomela canit dumque ore liquenti\\nVibrat acuta sonum, modidisque interplicat oequis\\nEx inopinato gravis intonat, et leve murmur\\nTurbinat introrsus, alternantique sonore,\\nClarat et infuscal 3 ceu martia classica pulset.\\nScilicet erubuit fidicen., iraque calente,\\nAut non hoc, inquit, referes, citharistia sylvae,\\nAut fracta cedam cithara. Nee plura locutus,\\nNon imitabilibus plectrum concentibus urget.\\nNamque manu per fila volat, simul hos, simul illos\\nExplorat numeros, chordaque laborat in omni\\nEt strepit et tinnit, crescitque superbius, et se\\nMultiplicat relegens, plenoque choreumate plaudit.\\nTurn stetit expectans si quid paret aemula contra.", "height": "3932", "width": "2444", "jp2-path": "essayonprinciple00wood_0368.jp2"}, "369": {"fulltext": "CHAP. XIII. TRANSLATION. 849\\nIlia autem, quanquam vox dudum exercita fauces\\nAsperat, impatiens vinci, simul advocat omnes\\nNecquicquam vires nam dum discrimina tanta\\nReddere tot fidium nativa et simplice tentat\\nVoce, canaliculisque imitari grandia parvis,\\nImpar magnanimis ausis, imparque 4olori,\\nDeficit, et vitam summo in certamine linquens,\\nVictoris cadit in plectrum, par nacta sepulchrum.\\nHe that should attempt a translation of\\nthis most artful composition, dum ieniat\\ndiscrimina tanta reddere would probably,\\nlike the nightingale, find himself impar mag-\\nnanimis amis m\\nIt must be here remarked, that Strada\\nThe attempt, however, has been made. Without men-\\ntioning the miserable imitation by Ambrose Philips in his fifth\\nEclogue, there is, in a little volume, entitled Prolusiones Poe\\niicce, by the Reverend T. Bancroft, printed at Chester 1788.;\\na version of the Fidicinis et Philomelas certametij which will\\nplease every reader of taste, who forbears to compare it with\\nthe original; and in the Poems of Pattison, the ingenious author\\nof the Epistle of Ahelard to Eloisa, is a fable, entitled, The\\nNightingale and Shephe?*d, imitated from Strada. But these\\nperformances serve only to convince us, that a perfect trans-\\nlation of that composition is a thing almost impossible.,", "height": "3924", "width": "2360", "jp2-path": "essayonprinciple00wood_0369.jp2"}, "370": {"fulltext": "350 PRINCIPLES OF CHAP. XIII.\\nhas not the merit of originality in this cha-\\nracteristic description of the song of the\\nNightingale. He found it in Pliny, and\\nwith still greater amplitude, and variety of\\ndiscrimination. He seems even to have ta-\\nken from that author the hint of his fable\\nDigna miratu avis. Primum, tanta vox\\ntarn parvo in corpusculo, tarn pertinax\\nspiritus. Deinde in una perfecta musicas\\nscientia modulatus editur sonus et nunc\\ncontinuo spiritu trahitur in longum, nunc\\nvariatur inflexo, nunc distinguitur conci-*\\nso, copulatur intorto, promittitur revoca-\\n44 to, infuscatur ex inopinato interdum et\\nsecum ipse murmurat, plenus, gravis, acu-\\ntus, creber, extentus ubi visum est vi-\\nM brans, summus, medius, imus. Breviter-\\nque omnia tarn parvulis in faucibus, quae\\ntot exquisitis tibiarum tormentis ars ho-\\nminum excogitavit. Certant inter se, pa^\\nlamque animosa contentio est. Victa\\nmorte finit saspe vitam, spiritu prius defi-\\nciente quam cantu. Plin. Nat. Hist*\\nlib. 10. c. 29.", "height": "3928", "width": "2440", "jp2-path": "essayonprinciple00wood_0370.jp2"}, "371": {"fulltext": "CHAP. XIII. TRANSLATION. 351\\nIt would perhaps be as difficult to give a\\nperfect translation of this passage from Pli-\\nny, as of the fable of Strada. The attempt,\\nhowever, has been made by an old English\\nauthor, Philemon Holland and it is curi-\\nous to remark the extraordinary shifts to\\nwhich he has been reduced in the search of\\ncorresponding expressions\\nExplorat numeros, chorddque laborat in omni.\\nSurely this bird is not to be set in the\\nlast place of those that deserve admira-\\ntion for is it not a wonder, that so loud\\nu and clear a voice should come from so\\nlittle a body Is it not as strange, that\\nshee should hold her wind so long, and\\ncontinue with it as shee doth More-\\nover, shee alone in her song keepeth time\\nand measure truly, shee riseth and falleth\\nin her note just with the rules of music,\\nand perfect harmony for one while, in\\none entire breath she draws out her tune\\nat length treatable \u00e2\u0080\u00a2another while she\\nquavereth, and goeth away as fast in her\\nrunning points sometimes shee maketh", "height": "3924", "width": "2368", "jp2-path": "essayonprinciple00wood_0371.jp2"}, "372": {"fulltext": "352\\nPRINCIPLES OF\\nCHAP. XIII.\\nstops and short cuts in her notes ano-\\nther time she gathereth in her wind, and\\nsingeth descant between the plain song\\nshe fetcheth in her breath again, and then\\nyou shall have her in her catches and di-\\nvisions anon, all on a sudden, before a\\nman would think it, she drowneth her\\na voice that one can scarce hear her now\\nand then she seemeth to record to herself,\\nand then she breaketh out to sing volun^\\ntarie. In sum, she varieth and altereth\\nher voice to all keies one while full of\\nher largs, longs, briefs, semibriefs, and\\nminims another while in her crotchets^\\nquavers* semiquavers, and double semi-\\nquavers for at one time you shall hear\\nher voice full of loud, another time as\\nlow and anon shrill and on high thick\\nand short when she list drawn out at\\nleisure again when she is disposed and\\nthen, (if she be so pleased), shee riseth\\nu and mounteth up aloft, as it were with a\\nM wind organ. Thus she altereth from one\\nu to another, and sings all parts, the treble,\\nthe mean, and the base. To conclude,\\nthere is not a pipe or instrument devised", "height": "3932", "width": "2492", "jp2-path": "essayonprinciple00wood_0372.jp2"}, "373": {"fulltext": "CHAP. XIII. TRANSLATION, 353\\nwith all the art and cunning of man, that\\ncan affoord more musick than this pretty\\nbird doth out of that little throat of hers.\\n-They strive who can do best, and one\\nlaboureth to excel another in variety of\\nsong and long continuance yea and evi-\\ndent it is that they contend in good ear-\\nnest with all their will and power for\\noftentimes she that hath the worse, and is\\nnot able to hold out with another, dieth\\nfor it, and sooner giveth she up her vital\\nbreath than giveth over her song.\\nThe consideration of the above passage\\nin the original, leads to the following re-\\nmark.\\n5. There is no species of writing so dif-\\nficult to be translated, as that where the\\ncharacter of the style is florid, and the ex-\\npression consequently vague, and of inde-\\nfinite meaning. The Natural History of\\nPliny furnishes innumerable examples of\\nthis fault (the worst that can occur in a\\nhistory of art and science, to which a per-\\nspicuous diction is most essential) and", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0373.jp2"}, "374": {"fulltext": "354\\nPRINCIPLES OF\\nCHAP. XIII.\\nhence that work will ever be found one of\\nthe most difficult to be translated. A short\\nchapter shall be here analized, as an in-\\nstructive specimen,\\nLib. 11. Cap. 2.\\nIn magnis siquidem corporibus, aut certe\\nmajoribus, facilis officina sequaci materia\\nfuit. In his tarn parvis atque tarn nullis,\\nquae ratio, quanta vis, quam inextricabilis\\nperfectio Ubi tot sensus collocavit in cu-\\nlice Et sunt alia dictu minora. Sed\\nubi visum in eo prastendit Ubi gustatum\\napplicavit Ubi odoratum inseruit Ubi\\nvero truculentam illam et portione maxi-\\nmam vocem ingenei avit Qua subtilitate\\npennas adnexuit Praelongavit pedum cru-\\nra disposuit jejunam caveam, uti alvum\\nAvidam sanguinis et potissimum humani\\nsitim accendit Telum vero perfodiendo\\ntergori, quo spiculavit ingenio Atque ut\\nin capaci, cum cerni non possit exilitas, ita\\nreciproca geminavit arte, ut fodiendo acu-\\nminatum, pariter sorbendoque fistulosum", "height": "3960", "width": "2548", "jp2-path": "essayonprinciple00wood_0374.jp2"}, "375": {"fulltext": "*HAP. XIII. TRANSLATION. 355\\nesset. Quos teredini ad perforanda ro-\\nbora cum sono teste dentes affixit? Po-\\ntissimumque e ligno cibatum fecit? Sed\\nturrigeros elephantorum miramur humeros,\\ntaurorumque colla, et truces in sublime jac-\\ntus, tigrium rapinas, leonum jubas cum\\nrerum natura nusquam magis quam in mi-\\nnimis tota sit. Qiiapropter quseso, ne hasc\\nlegentes, quoniam ex his spernunt multa,\\netiam relata fastidio damnent, cum in con-\\ntemplatione naturae, nihil possit videri su-\\npervacuum.\\nAlthough, after the perusal of the whole\\nof this chapter, we are at no loss to under-\\nstand its general meaning, yet when it is\\ntaken to pieces, we shall find it extremely\\ndifficult to give a precise interpretation,\\nmuch less an elegant translation of its single\\nsentences. The latter indeed may be ac-\\ncounted impossible, without the exercise of\\nsuch liberties as will render the version ra-\\nther a paraphrase than a translation. In\\nmagnis siquidem corporibm^ ami certe majo-\\nribus, facilis officina sequaci materice fuit.\\nThe sense of the term magnus, which is in\\nz2", "height": "3932", "width": "2292", "jp2-path": "essayonprinciple00wood_0375.jp2"}, "376": {"fulltext": "356 PRINCIPLES OF CHAP. XIII.\\nitself indefinite, becomes in this sentence\\nmuch more so, from its opposition to major\\nand the reader is quite at a loss to know,\\nwhether in those two classes of animals, the\\nmagm and the majtres, the largest animals\\nare signified by the former term, or by the\\nlatter. Had the opposition been between\\nmagnus and maaimu or major and maximum\\nthere could not have been the smallest\\nambiguity. Facilis nffjcina sequaci materia\\nfuit. Officina is the workhouse where an\\nartist exercises his crait but no author, ex-\\ncept Pliny himself, ever employed it to sig-\\nnify the labour of the artist. With a si-\\nmilar incorrectness of expression, which,\\nhowever, is justified by general use, the\\nFrench employ cuisine to signify both the\\nplace where victuals are dressed, and the\\nart of dressing them. Sequax materia sig-\\nnifies pliable materials, and therefore easily\\nwrought but the term sequax cannot be\\napplied with any propriety to such mate-\\nrials as are easily wrought, on account of\\ntheir magnitude or abundance. Tarn parvis\\nis easily understood, but tarn mil lis has ei-\\nther no meaning at all, or a very obscure", "height": "3932", "width": "2548", "jp2-path": "essayonprinciple00wood_0376.jp2"}, "377": {"fulltext": "CHAP. XIII. TRANSLATION. 357\\none. Tnextricabi/is perfection It is no per-\\nfection in any thing to be inextricable\\nfor the meaning of inextricable is, embroil-\\ned, perplexed, and confounded. Ubi tot cen-\\nsus collocavit in culice What is the mean-\\ning of the question ubi Does it mean, in\\nwhat part of the body of the gnat I con-\\nceive it can mean nothing else And if so,\\nthe question is absurd for all the senses\\nof a gnat are not placed in any one part of\\nits body, anymore than the senses of a man.\\nDie hi minora. By these words the author\\nintended to convey the meaning of alia etiam\\nminora possunt did but the meaning which\\nhe has actually conveyed is, Sunt alia mi-\\nnora quam qua dim possunt, which is false\\nand hyperbolical for no insect is so small\\nthat words may not be found to convey an\\nidea of its size. Portione maximam vocem\\ningeneravif. What is portione maximam\\nIt is only from the context that we guess\\nthe author s meaning to be, maximam ra-\\ntione portion! s^ i. e. magnitudinis insecti\\nfor neither use, nor the analogy of the lan-\\nguage, justify such an expression as vocem\\nmaximam portione. If it is alleged, that\\nzS", "height": "3932", "width": "2316", "jp2-path": "essayonprinciple00wood_0377.jp2"}, "378": {"fulltext": "358\\nPRINCIPLES OF\\nCHAP. XIII,\\nportio is here used to signify the power or\\nintensity of the voice, and is synonymous in\\nthis place to w$; hsgyeia, we may safely as-\\nsert, that this use of the term is licentious,\\nimproper, and unwarranted by custom. Je-\\njuna m caveam uti ahum a hungry cavity\\nfor a belly but is not the stomach of\\nall animals a hungry cavity, as well as that\\nof the gnat Capaci cum cernere non potest\\nexilitas. Capax is improperly contrasted\\nwith exilis, and cannot be otherwise trans-\\nlated than in the sense of magnns. Reci-\\nproca geminavit arte is incapable of any\\ntranslation which shall render the proper\\nsense of the words, doubled with recipro-\\ncal art. The author s meaning is, fitted\\nfor a double function. Cum so?io teste\\nis guessed from the context to mean, uti\\nsonus testatur. Cum rerum natura nusquam\\nmagis quam in minimis tota sit* This is a\\nvery obscure expression of a plain senti-\\nment, The wisdom and power of Nature,\\na or of Providence, is never more conspi-\\ncuous than in the smallest bodies. Ex\\nhis spernunt multa. The meaning of ex his\\nis indefinite, and therefore obscure we can", "height": "3932", "width": "2556", "jp2-path": "essayonprinciple00wood_0378.jp2"}, "379": {"fulltext": "CHAP. XIII. TRANSLATION. 359\\nbut conjecture that it means ex rebus kujus-\\nmodi and not ex his quce diximus for\\nthat sense is reserved for relata.\\nFrom this specimen, we may judge of\\nthe difficulty of giving a just translation of\\nPliny s Natural History a work of which,\\nfrom the vast store of valuable knowledge\\nit contains, it is much to be regretted the\\nlearned author has greatly diminished the\\nutility, by a studied obscurity and false re-\\nfinement of expression.\\nz 4", "height": "3924", "width": "2308", "jp2-path": "essayonprinciple00wood_0379.jp2"}, "380": {"fulltext": "", "height": "3932", "width": "2552", "jp2-path": "essayonprinciple00wood_0380.jp2"}, "381": {"fulltext": "CHAP* XIV. TRANSLATION. 361\\nCHAPTER XIV.\\nOf Burlesque Translation, Travesty and\\nParodij. Scarr on s Virgile Travesti An-\\nother Species of Ludicrous Translation.\\nIn a preceding chapter, while treating of\\nthe translation of idiomatic phrases, we cen-\\nsured the use of such idioms in the transla-\\ntion as do not correspond with the age or\\ncountry of the original. There is, however,\\none species of translation, in which that viola-\\ntion of the costume is not only blameless, but\\nseems essential to the nature of the compo-\\nsition I mean burlesque translation, or\\nTravesty. This species of writing partakes,\\nin a great degree, of original composition\\nand is therefore not to be measured by the\\nlaws of serious translation. It conveys nei-\\nther a just picture of the sentiments, nor a", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0381.jp2"}, "382": {"fulltext": "362 PRINCIPLES OF CHAP. XIV.\\nfaithful representation of the style and man-\\nner of the original but pleases itself in\\nexhibiting a ludicrous caricatura of both,\\nIt displays an overcharged and grotesque\\nresemblance, and excites our risible emo-\\ntions by the incongruous association of\\ndignity and meanness, wisdom and absurdi-\\nty. This association forms equally the basis\\nof Travesty and of Ludicrous Parody, from\\nwhich it is no otherwise distinguished than\\nby its assuming a different language from\\nthe original. In order that the mimickry\\nmay be understood, it is necessary that the\\nwriter choose, for the exercise of his talents,\\na work that is well known, and of great re-\\nputation. Whether that reputation is de-\\nserved or unjust, the work may be equally\\nthe subject of burlesque imitation. If it has\\nbeen the subject of general, but undeserved\\npraise, a Parody or a Travesty is then a fair\\nsatire on the false taste of the original au-\\nthor, and his admirers, and we are pleased\\nto see both become the objects of a just cas-\\ntigation. The Rehearsal, Torn Thumb, and\\nCrononhotonthologos, which exhibit ludicrous\\nparodies of passages from the favourite dra-", "height": "3928", "width": "2540", "jp2-path": "essayonprinciple00wood_0382.jp2"}, "383": {"fulltext": "CHAP. XIY. TRANSLATION. 363\\nmatic writers of the times, convey a great\\ndeal of just and useful criticism. If the ori-\\nginal is a work of real excellence, the Tra-\\nvesty or Parody detracts nothing from its\\nmerit, nor robs the author of the smallest\\nportion of his merited praise We laugh\\nat the association of dignity and meanness\\nbut the former remains the exclusive pro-\\nperty of the original, the latter belongs sole-\\nly to the copy. We give due praise to the\\nmimical powers of the imitator, and are de-\\nlighted to see how ingeniously he can eli-\\ncit subject of mirth and ridicule from what\\nis grave, dignified, pathetic, or sublime*\\nThe occasional blemishes, however, of a good writer, are\\na fair subject of castigation and a travesty or burlesque pa-\\nrody of them will please, from the justness of the satire As\\nthe following ludicrous version of a passage in the 5th iEneid,\\nwhich is among the few examples of false taste in the chastest\\nof the Latin Poets\\nOculos lelumque tetendit.\\nHe cock d his eye and gun,", "height": "3912", "width": "2384", "jp2-path": "essayonprinciple00wood_0383.jp2"}, "384": {"fulltext": "364\\nPRINCIPLES OF\\nCHAP. XIV*\\nIn the description of the games in the\\n5th iEneid, Virgil every where supports the\\ndignity of the Epic narration. His persons\\nare heroes, their actions are suitable to that\\ncharacter, and we feel our passions serious-\\nly interested in the issue of the several con-\\ntests. The same scenes travestied by Scar-\\nron are ludicrous in the extreme. His he-\\nroes have the same names, they are engaged\\nin the same actions, they have even a gro-\\ntesque resemblance in character to their pro-\\ntotypes but they have all the meanness,\\nrudeness, and vulgarity of ordinary prize-\\nfighters, hackney coachmen, horse jockeys,\\nand watermen.\\nMedio Gyas in gurgite victor\\nRectorem navis compellat voce Mencetem\\nQuo tantum mihi dexter abis hue dirige cursum,\\nLittus ama, et Icevas stringat sine palmula cauUs\\nAlium alii teneant. Dixit sed cceca Mencetes\\nSaxa timens, proram pelagi deiorquet ad undas.\\nQuo diversus abis iterum pete saxa Meno3te\\nCum clamore Gyas revocabat.\\nGyas, qui croit que son pilote,\\nComme un vieil fou qu il est, radote,", "height": "3920", "width": "2572", "jp2-path": "essayonprinciple00wood_0384.jp2"}, "385": {"fulltext": "CHAP. XIV. TRANSLATION. 365\\nDe ce qu en mer il s elargit,\\nAussi fort qu un lion rugit\\nEt s ecrie, ecumant de rage,\\nSerre, serre done le rivage,\\nFils de putain de Menetus,\\nSerre, ou bien nous somme v ictus\\nSerre done, serre a la pareille\\nMenetus fit la sourde oreille,\\nEt s eloigne toujours du bord,\\nEt si pourtant il n a pas tort\\nHabile qu il est,.,il redoute\\nCertains rocs, ou Ton ne voit goutte\u00e2\u0080\u0094\\nLors Gyas se met en furie,\\nEt de rechef crie et recrie,\\nVieil coyon, pilote enrage,\\nMes ennemis t ont ils gage\\nPour m oter l honneur de la sorte\\nSerre, ou que le diable t emporte,\\nSerre le bord, ame de chien\\nMais au diable, s il en fait rien.\\nIn Virgil, the prizes are suitable to the\\ndignity of the persons who contend for\\nthem\\nMunera principio ante oculos, circoque Jocantur\\nIn medio: sacri tripodes, viridesque coronae,\\nEt palmae, pretium victorious armaque, et ostro\\nPerfusa? vestes, argenti aurique talentsu", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0385.jp2"}, "386": {"fulltext": "366\\nPRINCIPLES OF\\nCHAP. XIV.\\nIn Scarron, the prizes are accommodated\\nto the contending parties with equal pro-\\npriety\\nMaitre Eneas faisant le sage, c.\\nFit apporter une marmitte,\\nC etoit un des prix destines\\nDeux pourpoints fort bien galonnes.,\\nMoitie filet et moitie soye\\nUn sifflet contrefaisant Foye\\nUn engin pour casser des noix\\nVingt et quatre assiettes de bois,\\nQu Eneas allant au fourrage\\nAvoit trouve dans le baggage\\nDu venerable Agamemnon\\nCertain auteur a dit que non,\\nComptant la chose d autre sorte,\\nMais ici fort peu nous importe\\nUne toque de velous gras\\nUn engin a prendre des rats,\\nOuvrage du grand Aristandre,\\nQui savoit bien les rats prendre\\nEn plus de cinquante facons,\\nEt meme en donnoit des lecons\\nDeux tasses d etain emaillees;\\nDeux pantoufles despareillees,\\nDont Tune fut au grand Hector,\\nToutes deux de peau de castor\\nEt plusieurs autres nippes rares, c", "height": "3932", "width": "2564", "jp2-path": "essayonprinciple00wood_0386.jp2"}, "387": {"fulltext": "CHAP. XIV. TRANSLATION. 367\\nBut this species of composition pleases\\nonly in a short specimen. We cannot bear\\na lengthened work in Travesty. The in-\\ncongruous association of dignity and mean-\\nness excites risibility chiefly from its being\\nunexpected. Even the best of these com-\\npositions, Cotton s and Scarron s Virgil,\\nentertain but for a few pages the composi-\\ntion soon becomes tedious, and at length\\ndisgusting. We laugh at a short exhibition\\nof buffoonry but we cannot endure a man,\\nwho, with good talents, is constantly playing\\nthe fool.\\nThere is a species of ludicrous verse trans-\\nlation which is not of the nature of Traves-\\nty, and which seems to be regulated by all\\nthe laws of serious translation. It is em-\\nployed upon a ludicrous original, and its\\npurpose is not to burlesque, but to repre-\\nsent it with the utmost fidelity. For that\\npurpose, even the metrical stanza is closely\\nimitated. The ludicrous effect is heighten-\\ned, when the stanza is peculiar in its struc-\\nture, and is transferred from a modern to an", "height": "3924", "width": "2360", "jp2-path": "essayonprinciple00wood_0387.jp2"}, "388": {"fulltext": "368\\nPRINCIPLES OF\\nCHAP. X\\nancient language as in Dr Aldrich s trans-\\nlation of the well-known song,\\nA soldier and a sailor,\\nA tinker and a tailor,\\nOnce had a doubtful strife, Sir,\\nTo make a maid a wife, Sir,\\nWhose name was buxom Joan, e.\\nMiles et navigator,\\nSartor et aerator,\\nJamdudum litigabant,\\nDe pulchra quam amabant,\\nNomen cut est Joanna, Sj-c.\\nOf the same species of translation is the\\nfacetious composition entitled FMrii Btfrtife\\nhce Itinerariurn, or Drunken Barnaby s Jour-\\nnal:\\nFaustule, die amico,\\nQuo in loco, quo in vicOj\\nSive campo, sive tecto,\\nSine linteo, sine lecto\\nPropinasti queis tahernis,\\nAn in terris, an Avernis.", "height": "3932", "width": "2532", "jp2-path": "essayonprinciple00wood_0388.jp2"}, "389": {"fulltext": "CHAP. XIV. TRANSLATION. 369\\nLittle Fausty, tell thy true heart,\\nIn what region, coast, or new part,\\nField or fold, thou hast been bousing,\\nWithout linen, bedding, housing\\nIn what tavern, pray thee, show us,\\nHere on earth, or else below us.\\nAnd the whimsical, though serious, transla-\\ntion of Chevy-chace\\nVivat Rex noster nobilis,\\nOmnis in tuto sit;\\nV enatu y olim jiebilis\\nChevino lucojit.\\nGod prosper long our noble King,\\nOur lives and safeties all\\nA woful hunting once there did\\nIn Chevy-chace befal c.\\nOf a similar character with the foregoing are some late\\nspecimens of burlesque Latin translation in rhyme, viz. Ram-\\nsay s Tale of The Monk and the Miller s Wife, the old ballad\\nof The Wife of Auchtermuchty, c. printed in Carmina rario*\\nra Macaronica, Edin. 1803.\\na a", "height": "3924", "width": "2300", "jp2-path": "essayonprinciple00wood_0389.jp2"}, "390": {"fulltext": "", "height": "3932", "width": "2564", "jp2-path": "essayonprinciple00wood_0390.jp2"}, "391": {"fulltext": "CHAP. XV. TRANSLATION. 371\\nCHAPTER XV.\\nThe Genius of the Translator should be akin\\nto that of the Original Author. The best\\nTranslators have shone in Original Com-*\\nposition of the same Species with that\\nwhich they have translated. Of Voltaire s\\nTranslations from Shakespeare. Of the\\nPeculiar Character of the Wit of VoU\\ntaire. His Translation from Hudibras.\\nExcellent Anonymous French Translation\\nof Hudibras. Translation of Rabelais by\\nUrquhart and Motteux.\\nr rom the consideration of those general\\nrules of translation which in the foregoing\\nchapters I have endeavoured to illustrate, it\\nwill appear no unnatural conclusion to as*\\nAa2", "height": "3916", "width": "2300", "jp2-path": "essayonprinciple00wood_0391.jp2"}, "392": {"fulltext": "372\\nPRINCIPLES OF\\nCHAP. XV.\\nsert, that he only is perfectly accomplished\\nfor the duty of a translator who possesses\\na genius akin to that of the original author.\\nI do not mean to carry this proposition so\\nfar as to affirm, that in order to give a per-\\nfect translation of the works of Cicero, a\\nman must actually be as great an orator, or\\ninherit the same extent of philosophical\\ngenius but he must have a mind capable\\nof discerning the full merits of his original,\\nof attending with an acute perception to the\\nwhole of his reasoning, and of entering with\\nwarmth and energy of feeling into all the\\nbeauties of his composition. Thus we shall\\nobserve invariably, that the best translators\\nhave beeo those writers who have compo-\\nsed original works of the same species with\\nthose which they have translated. The mu-\\ntilated version which yet remains to us of\\nthe Timaeus of Plato translated by Cicero,\\nis a masterly composition, which, in the\\nopinion of the best judges, rivals the merit\\nof the original. A similar commendation\\ncannot be bestowed on those fragments of\\nthe Phenomena of Aratus, translated into\\nverse by the same author for Cicero s poe~", "height": "3948", "width": "2544", "jp2-path": "essayonprinciple00wood_0392.jp2"}, "393": {"fulltext": "CHAP. XV. TRANSLATION. 3? 3\\ntical talents were not remarkable but who\\ncan doubt, that had time spared to us his\\nversions of the Orations of Demosthenes\\nand jEschines, we should have found them\\npossessed of the most transcendent merit\\nWe have observed, in the preceding part\\nof this Essay, that poetical translation is\\nless subjected to restraint than prose trans-\\nlation, and allows more of the freedom of\\noriginal composition. It will hence follow,\\nthat to exercise this freedom with propriety,\\na translator must have the talent of original\\ncomposition in poetry and therefore, that\\nin this species of translation, the possession\\nof a genius akin to that of his author, is\\nmore essentially necessary than in any other*\\nWe know the remark of Denham, that the\\nsubtle spirit of poesy evaporates entirely\\nin the transfusion from one language into\\nanother, and that unless a new, or an origi-\\nnal spirit, is infused by the translator him-\\nself, there will remain nothing but a ca-\\nput mortuum. The best translators of\\npoetry, therefore, have been those who have\\napproved their talents in original poetical\\na a 3", "height": "3924", "width": "2284", "jp2-path": "essayonprinciple00wood_0393.jp2"}, "394": {"fulltext": "374\\nPRINCIPLES OF\\nCHAP. XV.\\ncomposition. Dry den, Pope, Addison, Rowe,\\nTickell, Pitt, Warton, Mason, and Murphy,\\nrank equally high in the list of original\\npoets, as in that of the translators of poetry.\\nBut as poetical composition is various\\nin its kind, and the characters of the diffe-\\nrent species of poetry are extremely dis-\\ntinct, and often opposite in their nature, it\\nis very evident, that the possession of ta-\\nlents adequate to one species of translation,\\nas to one species of original poetry, will not\\ninfer the capacity of excelling in other spe-\\ncies, of which the character is different.\\nStill further, it may be observed, that as\\nthere are certain species of poetical com-\\nposition, as, for example, the Dramatic,\\nwhich, though of the same general character\\nin all nations, will take a strong tincture of\\ndifference from the manners of a country,\\nor the peculiar genius of a people so it\\nwill be found, that a poet, eminent as an\\noriginal author in his own country may fail\\nremarkably in attempting to convey, by a\\ntranslation, an idea of the merits of a foreign\\nwork which is tinctured by the national ge-", "height": "3932", "width": "2564", "jp2-path": "essayonprinciple00wood_0394.jp2"}, "395": {"fulltext": "CHAP. XV. TRANSLATION. 375\\nnius of the country which produced it. Of\\nthis we have a striking example in those\\ntranslations from Shakespeare by Voltaire\\nin which the French poet, eminent himself\\nin dramatical composition, intended to con-\\nvey to his countrymen a just idea of our\\nmost celebrated author in the same depart-\\nment. But Shakespeare and Voltaire, though\\nperhaps akin to each other in some of the\\ngreat features of the mind, were widely dis-\\ntinguished, even by nature, in the charac-\\nters of their poetical genius and this na-\\ntural distinction was still more sensibly en-\\ncreased by the general tone of manners, the\\nhue and fashion of thought of their respec-\\ntive countries. Voltaire, in his Essay sur la\\nTragedie Angloise, has chosen the famous\\nsoliloquy in the tragedy of Hamlet, To he,\\nM or not to be as one of those striking*\\n3 o\\npassages which best exemplify the genius of\\nShakespeare, and which, in the words of the\\nFrench author, demandent grace pour toutes\\nsesf antes. It may therefore be presumed,\\nthat the translator in this instance endea-\\nvoured, as far as lay in his power, not only\\nto adopt the spirit of his author, but to re-\\na a 4", "height": "3932", "width": "2292", "jp2-path": "essayonprinciple00wood_0395.jp2"}, "396": {"fulltext": "S76\\nPRINCIPLES OF\\nCHAP. XV.\\npresent him as favourably as possible to his\\ncountrymen. Yet how wonderfully has he\\nmetamorphosed, how miserably disfigured\\nhim In the original, we have the perfect\\npicture of a mind strongly agitated, giving\\nvent to its feelings in broken starts of ut-\\nterance, and in language which plainly indi-\\ncates, that the speaker is reasoning solely\\nwith his own mind, and not with any audi-\\ntor. In the translation, we have a formal\\nand connected harangue, in which it would\\nappear, that the author, offended with the\\nabrupt manner of the original, and judging\\nthose irregular starts of expression to be un-\\nsuitable to that precision which is required\\nin abstract reasoning, has corrected, as he\\nthought, those defects of the original, and\\ngiven union, strength, and precision, to this\\nphilosophical argument.\\nDemeure, il faut choisir, et passer a l instant\\nDe la vie a la mort, ou de l etre au neant.\\nDieux justesj s il en est, eclairez mon courage.\\nFaut-il vieillir courbe sous la main qui m outrage,.\\nSupporter, ou iinir mon malheur et mon sort\\nQue suis-je qui m arrete et qu est ce que la mort T", "height": "3932", "width": "2616", "jp2-path": "essayonprinciple00wood_0396.jp2"}, "397": {"fulltext": "GHAP. XV. TRANSLATION. 377\\nC est la fin de nos maux, c est mon unique azile\\nApres de longs transports, c est un sommeil tranquile.\\nOn s endort et tout meurt i mais un affreux reveil,\\nDoit succeder peutetre aUx douceurs du sommeil.\\nOn nous menace on dit que cette courte vie\\nDe tourmens eternels est aussitot suivie.\\nO mort moment fatale affreuse eternite\\nTout cceur a ton seul nom se glace epouvante.\\nEh qui pourrait sans toi supporter cette vie\\nDe nos pretres menteurs benir l hypocrisie\\nD une indigne maitresse encenser les erreurs\\nRamper sous un ministre, adorer ses hauteurs?\\nEt montrer les langueurs de son ame abattue,\\nA des amis ingrats qui detournent la viie\\nLa mort serait trop douce en ces extremites.\\nMais.le scrupule parle, et nous crie, arreted.\\nII defend a nos mains cet heureux homicide,\\nEt d un heros guerrier, fait un Chretien timide\\nTo be, or not to be, that is the question\\nWhether tis better in the mind to suffer\\nThe slings and arrows of outrageous fortune\\nOr to take arms against a sea of troubles,\\nAnd by opposing end them To die to sleep\\nNo more And by a sleep, to say we end\\nThe heart-ache, and the thousand natural shocks\\nThat flesh is heir to tis a consummation", "height": "3932", "width": "2300", "jp2-path": "essayonprinciple00wood_0397.jp2"}, "398": {"fulltext": "8*78 PRINCIPLES OF CHAP. XV.\\nBesides, the general fault already noticed,\\nof substituting formal and connected rea-\\nsoning, to the desultory range of thought\\nand abrupt transitions of the original, Vol-\\nDevoutly to be wish d. To die to sleep\\nTo sleep perchance to dream ay, there s the rub\\nFor in that sleep of death what dreams may come,\\nWhen we have shuffled off this mortal coil,\\nMust give us pause There s the respect\\nThat makes calamity of so long life\\nFor who would bear the whips and scorns of time,\\nThe oppressor s wrong, the proud man s contumely^\\nThe pangs of despised love, the law s delay,\\nThe insolence of office, and the spurns\\nThat patient merit of the unworthy takes,\\nWhen he himself might his quietus make\\nWith a bare bodkin who would fardels bear^\\nTo groan and sweat under a weary life\\nBut that the dread of something after death\\nThat undiscover d country, from whose bourne\\nNo traveller returns puzzles the will\\nAnd makes us rather bear those ills we have,\\nThan fly to others that we know not of?\\nThus conscience does make cowards of us all, c.\\nHamlet, act 3. sc.", "height": "3928", "width": "2520", "jp2-path": "essayonprinciple00wood_0398.jp2"}, "399": {"fulltext": "CHAP. XV. TRANSLATION. 379\\ntaire has in this passage, by the looseness of\\nhis paraphrase, allowed some of the most\\nstriking beauties, both of the thought and\\nexpression, entirely to escape while he has\\nsuperadded, with unpardonable licence, se-\\nveral ideas of his own, not only unconnect-\\ned with the original, but dissonant to the\\ngeneral tenor of the speaker s thoughts, and\\nforeign to his character. Adopting Vol-\\ntaire s own style of criticism on the transla-\\ntions of the Abbe des Fontaines, we may\\nask him, Where do we find, in this trans-\\nlation of Hamlet s soliloquy,\\nThe slings and arrows of outrageous fortune\\nTo take arms against a sea of troubles\\nThe heart-ache, and the thousand natural shocks\\nu That flesh is heir to\\nPerchance to dream ay there s the rub\\nte The whips and scorns of time\\nThe law s delay, the insolence of office\\nThe spurns that patient merit from th unworthy\\ntakes\\nThat undiscover d country, from whose bourne.\\nNo traveller returns\\nCan Voltaire, who has omitted in this", "height": "3920", "width": "2312", "jp2-path": "essayonprinciple00wood_0399.jp2"}, "400": {"fulltext": "380 PRINCIPLES OF CHAP. XV.\\nshort passage all the above striking peculia-\\nrities of thought and expression, be said\\nto have given a translation from Shake-\\nspeare\\nBut in return for what he has retrenched\\nfrom his author, he has made a liberal addi-\\ntion of several new and original ideas of his\\nown. Hamlet, whose character in Shake-\\nspeare exhibits the strongest impressions of\\nreligion, who feels these impressions even\\nto a degree of superstition, which influen-\\nces his conduct in the most important exi-\\ngences, and renders him weak and irre-\\nsolute, appears in Mr Voltaire s transla-\\ntion a thorough sceptic and freethinker.\\nIn the course of a few lines, he expresses\\nhis doubt of the existence of a God he\\ntreats the priests as liars and hypocrites, and\\nthe Christian religion as a system which\\ndebases human nature, and makes a coward\\nof a hero\\nDieux justes S il en est\\nDe nos pretres menteurs benir Fhypocrisie\\nEt d un heros guerrier, fait un Chretien timide\u00e2\u0080\u0094", "height": "3932", "width": "2612", "jp2-path": "essayonprinciple00wood_0400.jp2"}, "401": {"fulltext": "CHAP. XV. TRANSLATION. 381\\nNow, who gave Mr Voltaire a right thus\\nto transmute the pious and superstitious\\nHamlet into modern philosophe and Esprit\\nfort f Whether the French author meant\\nby this transmutation to convey to his coun-\\ntrymen a favourable idea of our English\\nbard, we cannot pretend to say but we\\nmay at least affirm, that he has not convey-\\na just one\\nBut what has prevented the translator,\\nwho professes that he wished to give a just\\nOther ideas superadded by the translator are\\nQue suis-je Qui m arrete\\nOn nous menace,, on dit que cette courte vie, c.\\nAffreuse eternite\\nTout coeur a ton seul nom se glace epouvante\\nA des amis ingrats qui detournent la vue.\\nIn the Essay on the Writings and Genius of Shakespeare,\\nwhich is one of the best pieces of criticism in the English\\nlanguage, the reader will find many examples of similar mis-\\nrepresentation and wilful debasements of our great dramatic\\npoet, in the pretended translations of Voltaire.", "height": "3928", "width": "2300", "jp2-path": "essayonprinciple00wood_0401.jp2"}, "402": {"fulltext": "382 PRINCIPLES OF CHAP. XV.\\nidea of the merits of his original, from ac-\\ncomplishing what he wished? Not igno-\\nrance of the language for Voltaire, though\\nno great critic in the English tongue, had\\nyet a competent knowledge of it and the\\nchange he has put upon the reader was not\\ninvoluntary, or the effect of ignorance. Nei-\\nther was it the want of genius, or of poeti-\\ncal talents for Voltaire is certainly one of\\nthe best poets, and one of the greatest mas-\\nters of the drama. But it was the original\\ndifference of his genius and that of Shake-\\nspeare, increased by the general opposition\\nof the national character of the French and\\nEnglish. His mind, accustomed to connect\\nall ideas of dramatic sublimity or beauty with\\nregular design and perfect symmetry of com-\\nposition, could not comprehend this union\\nof the great and beautiful with irregularity\\nof structure and partial disproportion. He\\nwas capable indeed of discerning some fea-\\ntures of majesty in this colossal statue but\\nthe rudeness of the parts and the want of\\npolish in the whole figure, prevailed over\\nthe general impression of its grandeur, and", "height": "3924", "width": "2592", "jp2-path": "essayonprinciple00wood_0402.jp2"}, "403": {"fulltext": "CHAP. XV. TRANSLATION. 383\\npresented it altogether to his eye as a mon-\\nstrous production.\\nThe genius of Voltaire was more akin to\\nthat of Dryden, of Waller, of Addison, and\\nof Pope, than to that of Shakespeare he has,\\ntherefore, succeeded much better in the trans-\\nlations he has given of particular passages\\nfrom these poets, than in those he has at-\\ntempted from our great master of the\\ndrama.\\nVoltaire possessed a large share of wit\\nbut it is of a species peculiar to himself,\\nand which, I think, has never yet been ana-\\nlised. It appears to me to be the result of\\nacute philosophical talents, a strong spirit of\\nsatire, and a most brilliant imagination. As\\nall wit consists in unexpected combinations,\\nthe singular union of a philosophic thought\\nwith a lively fancy, which is a very uncom-\\nmon association, seems in general to be the\\nbasis of the wit of Voltaire. It is of a very\\ndifferent species from that wit which is as-\\nsociated with humour, which is exercised in\\npresenting odd, extravagant, but natural", "height": "3932", "width": "2300", "jp2-path": "essayonprinciple00wood_0403.jp2"}, "404": {"fulltext": "384 PRINCIPLES OF CHAP. XV.\\nviews of human character, and which forms\\nthe essence of ludicrous composition. The\\nnovels of Voltaire have no other scope than\\nto illustrate certain philosophical doctrines,\\nor to expose certain philosophical errors\\nthey are not pictures of life or of manners\\nand the persons who figure in them are pure\\ncreatures of the imagination, fictitious be-\\nings, who have nothing of nature in their\\ncomposition, and who neither act nor rea-\\nson like the ordinary race of men. Vol-\\ntaire then, with a great deal of wit, seems\\nto have had no talent for humorous com-\\nposition. Now, if such is the character of\\nhis original genius, we may presume, that\\nhe was not capable of justly estimating in\\nthe compositions of others what he did not\\npossess himself. We may likewise fairly\\nconclude, that he should fail in attempting\\nto convey by a translation a just idea of the\\nmerits of a work, of which one of the main\\ningredients is that quality in which he was\\nhimself deficient. Of this I proceed to give\\ngive a strong example.", "height": "3952", "width": "2612", "jp2-path": "essayonprinciple00wood_0404.jp2"}, "405": {"fulltext": "CHAP. XV. TRANSLATION. 385\\nIn the poem of Hudibras\\\\ we have a re-\\nmarkable combination of Wit with Hu-\\nmour nor is it easy to say which of these\\nqualities chiefly predominates in the com-\\nposition. A proof that humour forms a\\nmost capital ingredient is, that the inimi-\\ntable Hogarth has told the whole story of\\nthe poem in a series of characteristic prints\\nnow painting is completely adequate to the\\nrepresentation of humour, but can convey\\nno idea of wit. Of this singular poem,\\nVoltaire has attempted to give a specimen\\nto his countrymen by a translation but in\\nthis experiment he says he has found it ne^-\\ncessary to concentrate the first four hundred\\nlines into little more than eighty of the\\ntranslation The truth is, that, either in-\\nsensible of that part of the merit of the ori-\\nf Pour faire connoitre Fesprit de ce poeme, unique en son\\ngenre, il faut retrancher les trois quarts de tout passage qu on\\nveut traduire car ce fuller ne finit jamais. J ai done re-\\nduit a environ quatre-vingt vers les quatre cent premiers vers\\n\u00e2\u0080\u00a2d HudibraSj pour eviter la prolixite. Mel, Pkilos. par VoU\\ntaire, Oeitv. torn. 15. Ed. de Geneve, 4 to.\\nBb", "height": "3932", "width": "2300", "jp2-path": "essayonprinciple00wood_0405.jp2"}, "406": {"fulltext": "386 FBINCIPLES OF CHAP. XV.\\nginal, or conscious of his own inability to\\ngive a just idea of it, he has left out all that\\nconstitutes the humour of the painting, and\\nattached himself solely to the wit of the com-\\nposition. In the original, we have a descrip-\\ntion of the figure, dress, and accoutrements\\nof Sir Hudibras, which is highly humorous,\\nand which conveys to the imagination a$\\ncomplete a picture as is given by the cha-\\nracteristic etchings of Hogarth. In the\\ntranslation of Voltaire, all that we learn of\\nthose particulars which paint the hero, is,\\nthat he wore mustachios, and rode with a\\npair of pistols.\\nEven the wit of the original, in passing\\nthrough the alembic of Voltaire, has chanr\\n2ed in a great measure its nature, and assi-\\nmilated itself to that which is peculiar to\\nthe translator. The wit of Butler is more\\nconcentrated, more pointed, and is announ-\\nced in fewer words, than the wit of Voltaire.\\nThe translator, therefore, though he pre-\\ntends to have abridged four hundred verses\\ninto eighty, has in truth effected this by the\\nretrenchment of the wit of his original, and", "height": "3932", "width": "2608", "jp2-path": "essayonprinciple00wood_0406.jp2"}, "407": {"fulltext": "CHAP. XV, TRANSLATION. 387\\nnot by the concentration of it for when we\\ncompare any particular passage or point, we\\njfind there is more diffusion in the transla-\\ntion than in the original. Thus, Butler\\nsays,\\nThe difference was so small, his brain\\nOutweigh d his rage but half a grain\\nWhich made some take him for a tool\\nThat knaves do work with, call d a fool.\\nThus amplified by Voltaire, and at the same\\ntime imperfectly translated\\nMais malgre sa grande eloquence,\\nEt son merite, et sa prudence,\\nII passa chez quelques savans\\nPour etre un de ces instrumens\\nDont les fripons avec addresse\\nSavent user sans dire mot,\\nEt qu ils tournent avec souplesse\\nCet instrument s appelle un sot.\\nThus likewise the famous simile of Talia-\\ncotius, loses by the amplification of the trans-\\nlator, a great portion of its spirit\\nBb2", "height": "3932", "width": "2292", "jp2-path": "essayonprinciple00wood_0407.jp2"}, "408": {"fulltext": "388 PRINCIPLES OF CHAP. XV,\\nSo learned Taliacotius from\\nThe brawny part of porter s bum\\nCut supplemental noses, which\\nWould last as long as parent breed)\\nBut, when the date of nock was out.\\nOff dropt the sympathetic snout.\\nAinsi Taliacotius,\\nGrand Esculape d Etruriej,\\nRepara tous les nez perdus\\nPar une nouvelle industrie\\nII vous prenoit adroitement\\nUn morceau du cul d un pauvre homme^\\nL appliquoit au nez proprement\\nEnfin il arrivat qu en somme,\\nTout juste a la mort du preteur\\nTombait le nez de remprunteur\\nEt souvent dans la meme biere,\\nPar justice et par bon accord,\\nOn remettait au gre du mort\\nLe nez aupres de son derriere.\\nIt will be allowed, that notwithstanding\\nthe supplemental witticism of the translator,\\ncontained in the last four lines, the simile\\nloses, upon the whole, very greatly by its\\ndiffusion. The following anonymous Latin\\nversions of this simile are possessed of mucfy", "height": "3932", "width": "2624", "jp2-path": "essayonprinciple00wood_0408.jp2"}, "409": {"fulltext": "CHAP. XV. TRANSLATION. 389\\nhigher merit, as, with equal brevity of ex-\\npression, they convey a great deal of the\\nspirit of the original\\nSic adscititios nasos de dune torosi\\nVectoris doctd secuit Talicotius arte..\\nQui potuere parent durando ozquare parentem\\nAt postquam fato clunis computruit, ipsum\\nUna. sympathicum coepit tabescere rostrum.\\nThe next has the additional merit of imi-\\ntating the measure of the original\\nSic Talivoti ars arnica\\nVectoris parte de postica 3\\nFalsis invenit carnem nasis,\\nQua* duret tamdiu qucim basis\\nSed rostrum parili ruind\\nCum dune periit consobrind.\\nDodslev s Museum, vol. ii.\\nWith these translations may be compa-\\nred the following, which is taken from a\\ncomplete version of the Poem of Hudibras,\\na very remarkable work, with the merits of\\nwhich (as the book is less known than it de-\\nBb3", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0409.jp2"}, "410": {"fulltext": "390 PRINCIPLES OF CHAP. XV.\\nserves to be), I am glad to have this oppor-\\ntunity of making the English reader ac-\\nquainted\\nAinsi Talicot (Time fesse\\nSavoit tailler avec addresse\\nNez tous neufs, qui ne risquoient rien\\nTant que le cul se portoit bien\\nMais si le cul perdoit la vie,\\nLe nez tomboit par sympathie.\\nIn one circumstance of this passage no\\ntranslation can come up to the original it\\nis in that additional pleasantry which results\\nfrom the structure of the verses, the first\\nline ending most unexpectedly with a pre-\\nposition, and the third with a pronoun, both\\nwhich are the rhyming syllables in the two\\ncouplets\\nSo learned Taliacotius from, c.\\nCut supplemental noses, which, c.\\nIt was perhaps impossible to imitate this in\\na translation but setting this circumstance\\naside, the merit of the latter French version", "height": "3932", "width": "2612", "jp2-path": "essayonprinciple00wood_0410.jp2"}, "411": {"fulltext": "CHAP. XV. TRANSLATION. 391\\nseems to me to approach very near to that\\nof the original.\\nThe author of this translation of the Poem\\nof Hudibras, evidently a man of superior abi-\\nlities appears to have been endowed with\\nan uncommon share of modesty He presents\\nhis work to the public with the utmost dif-\\nfidence and in a short preface, humbly de-\\nprecates its censure for the presumption that\\nmay be imputed to him, in attempting that\\nwhich the celebrated Voltaire had declared\\nto be one of the most difficult of tasks. Yet\\nthis task he has executed in a very masterly\\nmanner. A few specimens will shew the\\nhigh merit of this work, and clearly evince,\\nthat the translator possessed that essential\\nI have lately learnt, that the author of this translation\\nwas Colonel Townley* an English gentleman who had been\\neducated in France, and long in the French service, and who\\nthus had acquired a most intimate knowledge of both lan-\\nguages The same person (Francis Townley) who suffered\\ndeath at Carlisle, for his concern in the Rebellion 1745-6;\\nand who pleaded in vain his commission from the French\\nKing, as entitling him to the benefit of the cartel settled with\\nFrance for the exchange of prisoners of war.\\nsb 4", "height": "3932", "width": "2376", "jp2-path": "essayonprinciple00wood_0411.jp2"}, "412": {"fulltext": "392 PRINCIPLES OF CHAP. XV.\\nrequisite for his undertaking, a kindred ge-\\nnius with that of his great original.\\nThe religion of Hudibras is thus descri-\\nbed:\\nFor his religion, it was fit\\nTo match his learning and his wit\\nTwas Presbyterian true blue\\nFor he was of that stubborn crew\\nOf errant saints, whom all men grant\\nTo be the true church-militant\\nSuch as do build their faith upon\\nThe holy text of pike and gun\\nDecide all controversies by\\nInfallible artillery\\nAnd prove their doctrine orthodox,\\nBy apostolic blows and knocks. CaiUo I*\\nSa religion au genie\\nEt scavoir etoit assortie\\nII etoit franc Presbyterien,\\nEt de sa secte le soutien,\\nSecte, qui justement se vante\\nD etre TEglise militante\\nQui de sa foi vous rend raison\\nPar la bouche de son canon.,", "height": "3928", "width": "2592", "jp2-path": "essayonprinciple00wood_0412.jp2"}, "413": {"fulltext": "CHAP. XV. TRANSLATION 3\u00c2\u00a73\\nDont le boulet et feu terrible\\nMontre bien qu elle est infallible,\\ni\u00c2\u00a3t sa doctrine prouve a tous\\nOrthodoxe, a force de coups.\\nIn the following passage, the arch ratio-\\ncination of the original is happily rivalled\\nin the translation\\nFor Hudibras wore but one spur,\\nAs wisely knowing could he stir\\nTo active trot one side of s horse,\\nThe other would not hang an a se\u00c2\u00bb\\nCar Hudibras avec raison\\nNe se ehaussoit qu un eperon/\\nAyant preuve demonstrative\\nQu un cote marchant, l autre arrive.\\nThe language of Sir Hudibras is described\\nas a strange jargon, compounded of English,\\nGreek and Latin,\\nWhich made some think when he did gabble\\nThey d heard three labourers of Babel\\nOr Cerberus himself pronounce\\nA leash of languages at once.", "height": "3932", "width": "2292", "jp2-path": "essayonprinciple00wood_0413.jp2"}, "414": {"fulltext": "394 PRINCIPLES OF CHAP. XV.\\nIt was difficult to do justice in the trans-\\nlation to the metaphor of Cerberus, by\\ntranslating leash of languages This, how-\\never, is very happily effected by a parallel\\nwitticism\\nCe qui pouvoit bien faire accroire\\nQuand il parloit a l auditoire,\\nD entendre encore le bruit mbrtel\\nDe trois ouvriers de Babel,\\nOu Cerbere aux ames errantes\\nJapper trois langues differentes.\\nThe wit of the following passage is com*\\npletely transfused, perhaps even heightened\\nin the translation\\nFor he by geometric scale\\nCould take the size of pots of ale\\nResolve by sines and tangents straight\\nIf bread or butter wanted weight\\nAnd wisely tell what hour o th day\\nThe clock doth strike, by algebra*\\nEn geometre raffine\\nUn pot de bierre il eut jauge j", "height": "3932", "width": "2604", "jp2-path": "essayonprinciple00wood_0414.jp2"}, "415": {"fulltext": "CHAP. XV. TRANSLATION. 395\\nPar tangente et sinus sur l heure\\nTrouve le poids de pain ou beurre\\nEt par algebre eut dit aussi\\nA quelle heure il sonne midi.\\nThe last specimen I shall give from this\\nwork, is Hudibras s consultation with the\\nlawyer, in which the Knight proposes to pro-\\nsecute Sidrophel in an action of battery\\nQuoth he, there is one Sidrophel\\nWhom I have cudgell d Very well.\\nAnd now he brags t have beaten me.\u00e2\u0080\u0094\\nc Better and better still, quoth he.-\u00e2\u0080\u0094\\nAnd vows to stick me to the wall\\nWhere er he meets me Best of all.\\nTis true, the knave has taken s oath\\nThat I robb d him\u00e2\u0080\u0094 Well done, in troth/\\nWhen h has confessed he stole my cloak,\\nAnd pick d my fob, and what he took,\\nWhich was the cause that made me bang him\\nAnd take my goods again\u00e2\u0080\u0094 Marry, hang him. A\\nSir, quoth the lawyer, not to flatter ye,\\n{e You have as good and fair a battery\\nie As heart can wish, and need not shame\\nThe proudest man alive to claim i", "height": "3924", "width": "2300", "jp2-path": "essayonprinciple00wood_0415.jp2"}, "416": {"fulltext": "896\\nPRINCIPLES OF CHAP. XV.\\nFor if they ve us d you as you say\\ntc Marry, quoth I, God give you joy\\n(C I would it were my case, I d give\\nMore than I ll say, or you believe.\\nII est, dit-il, de par le monde\\nUn Sidrophel, que Dieu confonde,\\nQue j ai rosse des mieux.\u00e2\u0080\u0094 Fort bien\\nEt maintenant il dit, le chien,\\nQu il m a battu Bien mieux encore/\\nEt jure, afin qu on ne l ignore,\\nQue s il me trouve il me tuera\\nLe meilleur de tout le voila s\\nII est vrai que ce miserable\\nA fait serment au prealable\\nQue moi je l ai devalise\\nee C est fort bien fait, en verite\\nTandis que lui-meme il confesse,\\nQu il m a vole dans une presse,\\nMon manteau, mon gousset vuide\\nEt c est pourquoi je l ai rosse\\nPuis mes effets j ai scu reprendre.\\nec Oui da, dit-il, il faut le pendre.\\nDit l avocat, Sans flatterie\\nVous avez, Monsieur, batterie\\nAussi bonne qu on puisse avoir\\nVous devez vous en prevaloir.", "height": "3932", "width": "2612", "jp2-path": "essayonprinciple00wood_0416.jp2"}, "417": {"fulltext": "CHAP. XV. TRANSLATION. 397\\nf c S ils vous ont traite de la sorte,\\nff Comme votre recit le porte,\\nif Je vous en fais mon compliment\\nff Je voudrois pour bien de l argent,\\nf Et plus que vous ne sauriez croire,\\nQu il m arrivat pareille histoire.\\nThese specimens are sufficient to shew\\nhow completely this translator has entered\\ninto the spirit of his original, and has thus\\nsucceeded in conveying a very perfect idea\\nto his countrymen of one of those works\\nwhich are most strongly tinctured with the\\npeculiarities of national character, and which\\ntherefore required a singular coincidence\\nof the talents of the translator with those\\nof the original author.\\nIf the English can boast of any paral-\\nlel to this, in a version from the French,\\nwhere the translator has given equal proof\\nof a kindred genius to that of his ori-\\nginal, and has as successfully accomplish-\\ned a task of equal difficulty, it is in the\\ntranslation of Rabelais, begun by Sir Tho-\\nmas Urquhart, and finished by Mr Motteux,", "height": "3928", "width": "2376", "jp2-path": "essayonprinciple00wood_0417.jp2"}, "418": {"fulltext": "398 PRINCIPLES OF CHAP. XV.\\nand lastly, revised and corrected by Mr\\nOzell. The difficulty of translating this\\nwork, arises less from its obsolete style, than\\nfrom a phraseology peculiar to the author,\\nwhich he seems to have purposely rendered\\nobscure, in order to conceal that satire which\\nhe levels both against the civil government\\nand the ecclesiastical policy of his country.\\nSuch is the studied obscurity of this satire,\\nthat but a very few of the most learned and\\nacute among his own countrymen have pro-\\nfessed to understand Rabelais in the origi-\\nnal. The history of the English transla-\\ntion of this work, is in itself a proof of its\\nvery high merit. The three first books were\\ntranslated by Sir Thomas Urquhart, but\\nonly two of them were published in his\\nlifetime. Mr Motteux, a Frenchman by\\nbirth, but whose long residence in England\\nhad given him an equal command of both\\nlanguages, republished the work of Ur-\\nquhart, and added the remaining three books\\ntranslated by himself; with a variety of cu-\\nrious notes. In this publication he allows\\nthe excellence of the work of his predeces-", "height": "3932", "width": "2608", "jp2-path": "essayonprinciple00wood_0418.jp2"}, "419": {"fulltext": "CHAP. XV. TRANSLATION. 399\\nsor, whom he declares to have been a com-\\nplete master of the French language, and\\nto have possessed both learning and fancy\\nequal to the task he undertook. He adds,\\nthat he has preserved in his translation u the\\nvery style and air of his original and\\nfinally, that the English readers may now\\nunderstand that author better in their\\nown tongue, than many of the French\\na can do in theirs. The work thus com-\\npleted in English, was taken up by Mr\\nOzell, a person of considerable literary abi-\\nlities, and who possessed an uncommon\\nknowledge both of the ancient and modern\\nlanguages. Of the merits of the transla-\\ntion, none could be a better judge, and to\\nthese he has given the strongest testimony, by\\nadopting it entirely in his new edition, and li-\\nmiting his own undertaking solely to the Cor-\\nrection of the text of Urquhart and Motteux,\\nwith additional notes of his own to which\\nhe has added a translation of the notes of M.\\nDu Chat, who spent, as Mr Ozell informs us,\\nforty years in composing annotations on the\\noriginal work. The English version of Ra-", "height": "3932", "width": "2384", "jp2-path": "essayonprinciple00wood_0419.jp2"}, "420": {"fulltext": "400 PRINCIPLES OF CHAP. XV.\\nbelais thus improved, may be considered,\\nin its present form, as one of the most per-\\nfect specimens of the art of translation. The\\nbest critics in both languages have borne\\ntestimony to its faithful transfusion of the\\nsense, and happy imitation of the style of\\nthe original and every English reader\\nwill acknowledge, that it possesses all the\\nease of original composition. If I have\\nforborne to illustrate any of the rules or\\nM. Du Chat s own testimony to the merits of this ex-\\ncellent English version of Rabelais, must render superfluous\\nevery other et Mes remarques sont, ou historiques, ou cri-\\ntiques, et purement de grammaire, suivant le sujet au-\\nst quel je me suis borne. Ceux qui vouchont en voir d une\\ncc autre nature, sur le meme auteur, lisont avec plaisir la\\niC grande preface et les nptes Angloises du Rabelais Apglois\\nimprime depus xvi. ans a Londres, et re-imprimes nou-\\ne vellement. Si personne n a encore entrepris de traduire\\nen Francois ces notes et cette preface, c est apparemment\\ncl qu on est bien persuade, qu il n y a que Fauteur qui puisse\\n\u00e2\u0082\u00act s en bien acquitter. Soit lui, ou un autre qui execute la\\nff chose, il n y aura point de libraire qui ne trouve son compte\\na imprimer un tel livre.\\nPreface de M. Du Chat^", "height": "3932", "width": "2608", "jp2-path": "essayonprinciple00wood_0420.jp2"}, "421": {"fulltext": "CHAP. XV. TRANSLATION. 401\\nor precepts of the preceding Essay from this\\nwork, my reasons were, that obscurity I\\nhave already noticed, which rendered it less\\nfit for the purpose of such illustration, and\\nthat strong tincture of licentiousness which\\ncharacterises the whole work.\\nTHE END.\\nc c", "height": "3924", "width": "2300", "jp2-path": "essayonprinciple00wood_0421.jp2"}, "422": {"fulltext": "", "height": "3932", "width": "2368", "jp2-path": "essayonprinciple00wood_0422.jp2"}, "423": {"fulltext": "APPENDIX.\\ncc2", "height": "3920", "width": "2252", "jp2-path": "essayonprinciple00wood_0423.jp2"}, "424": {"fulltext": "", "height": "3932", "width": "2360", "jp2-path": "essayonprinciple00wood_0424.jp2"}, "425": {"fulltext": "APPENDIX.\\nNO. I.\\nSTANZAS from TICKELL s Ballad of Colin and Lucy.\\nTranslated by Le Mierre.\\nCheres compagnes, je vous laisse\\nUne voix semble m apeller,\\nUne main que je vois sans cesse\\nMe fait signe de m en aller.\\nL ingrat que j avois cru sincere\\nMe fait mourir, si jeune encor\\nUne plus riche a seu lui plaire\\nMoi qui Taimois, voila mon sort\\nAh Colin ah que vas-tu faire\\nRends-moi mon bien, rends-moi ta foi\\ncc3", "height": "3900", "width": "2292", "jp2-path": "essayonprinciple00wood_0425.jp2"}, "426": {"fulltext": "406 APPENDIX.\\nEt toi que son coeur me prefere\\nDe ses baisers detourne-toi.\\nDes le matin en epousee\\nA l eglise il te conduira\\nMais homme faux, fille abusee,\\nSongez que Lucy sera la.\\nFilles, portez-moi vers ma fosse\\nQue Fingrat me rencontre alors,\\nLuij dans son bel habit de noce,\\nEt Lucy sous le drap des morts.\\n7 hear a voice you cannot hear,\\nWhich says I must not stay,\\nI see a hand you cannot see,\\nWhich beckons me away.\\nBy a false heart, and broken vows,\\nIn early youth I die\\nAm I to blame, because his bride\\nIs thrice as rich as I?\\nAh Colin, give not her thy vows,\\nVows due to me alone\\nNor thou, fond maid, receive his kiss f\\nNor think him all thy own.", "height": "3932", "width": "2408", "jp2-path": "essayonprinciple00wood_0426.jp2"}, "427": {"fulltext": "APPENDIX. 40*7\\nTo-morrow in the church to wed,\\nImpatiefit both prepare,\\nBut know, fond maid, and know, false man,\\nThat Lucy will be there.\\nThere bear my corse, ye comrades, bear t\\nThe bridegroom blithe to meet\\nHe in his wedding-trim so gay 9\\nI in my winding-sheet.\\ncc4", "height": "3904", "width": "2300", "jp2-path": "essayonprinciple00wood_0427.jp2"}, "428": {"fulltext": "408\\nAPPENDIX,\\nNo. II.\\nODE V. of the First Book of Horace,\\nTranslated by Milton,\\nQuis multa gracilis, fyc*\\nW hat slender youth, bedew d with liquid odours,\\nCourts thee on roses in some pleasant cave\\nPyrrha, for whom bind st thou\\nIn wreaths thy golden hair,,\\nPlain in thy neatness O how oft shall he\\nOn faith and changed Gods complain, and seas\\nRough with black winds, and storms\\nUnwonted shall admire.\\nWho now enjoys thee credulous, all gold,\\nWho always vacant, always amiable,\\nHopes thee of flattering gales\\nUnmindful Hapless they\\nTo whom thou untry d seem st fair. Me in my 3 vow d\\nPicture the sacrtd wall declares t have hung\\nMy dank and dropping weeds\\nTo the stern God of sea.", "height": "3932", "width": "2408", "jp2-path": "essayonprinciple00wood_0428.jp2"}, "429": {"fulltext": "APPENDIX. 409\\nNO. III.\\nThe beginning of the VHIth Book of the Iliad,\\nTranslated by T. Hobbes.\\n1 he morning now was quite display d, and Jove\\nUpon Olympus* highest top was set\\nAnd all the Gods and Goddesses above,\\nBy his command, were there together met.\\nAnd Jupiter unto them speaking, said,\\nYou Gods all, and you Goddesses, d ye hear I\\nLet none of you the Greeks or Trojans aid\\nI cannot do my work for you forbear I\\nFor whomsoever I assisting see\\nThe Argives or the Trojans, be it known.-\\nHe wounded shall return, and laught at be,\\nOr headlong into Tartarus be thrown\\nInto the deepest pit of Tartarus,\\nShut in with gates of brass, as much below\\nThe common hell, as tis from hell to us.\\nBut if you will my power by trial know,\\nPut now into my hand a chain of gold,\\nAnd let one end thereof lie on the plain.\\nAnd all you Gods and Goddesses take hold,\\nYou shall not move me, howsoe er you strain,", "height": "3908", "width": "2376", "jp2-path": "essayonprinciple00wood_0429.jp2"}, "430": {"fulltext": "410 APPENDIX.\\nAt th other end, if I my strength put to\\nI ll pull you Gods and Goddesses to me,\\nDo what you can, and earth and sea to boot,\\nAnd let you hang there till my power you see.\\nThe Gods were out of countenance at this,\\nAnd to such mighty words durst not reply, c.", "height": "3928", "width": "2376", "jp2-path": "essayonprinciple00wood_0430.jp2"}, "431": {"fulltext": "APPENDIX. 411\\nNO. IV.\\nEx Fabulis JEsopiis Fr. Jos. Desbilloxs.\\nPhilomela, Corvus, et Bubo.\\nJNatura vernis pinxerat coloribus\\nFoetus repullulantes formosissimi\\nRidebat anni blanda tempestas dies\\nFestivitati candidse simillimus\\nAbierat, et paraverat amicae locum\\nTranquillitati solis aurei calor\\nExtulerat ab agris molliter tepentibus\\nSubtil em odorum copiam, quam paullulum\\nNoctis serenae frigus addensaverat,\\nEt in parentis regna telluris sinens\\nRecidere, florum, floridarumque arborum\\nDiurnum odorem odore vincebat novo.\\nPhilomela tales avida delicias capit,\\nPenit usque condit eruditis sensibus.\\nSed efficaci mox scientiae obsequens,\\nInflat canorum guttur, et ad omnes modos\\nIntendit; acrem nunc et argutam vibrat\\nAnimosa vocem, more clangentis tuba?\\nNunc languida premit, frangit obscurat sonos\\nEt deficere videtur, et medullitus\\nAmore flagrans intimo liquescere.", "height": "3908", "width": "2292", "jp2-path": "essayonprinciple00wood_0431.jp2"}, "432": {"fulltext": "112 APPENDIX.\\nFavonius, quern lilia inter et rosas\\nDulci tenebat inertia vinctum sopor,\\nEvigilat hasque mirans tarn volubiles,\\nTarn delicati flexioncs gutturis,\\nNe cesset ilia metuit. Evigilat quoque\\nCorvus at inepto tardus ingenio, et sibi\\nQuod somnus abrumpatur aegre etiam ferens\\nQuae te mala, in quit, cuncta ubique dum silent,\\nLibido cogit, tarn moleste ut perstrepas\\nTibi videris bella cantrix at tuse\\nMihi cantilenae, moneo, valde displicent;\\nIllisque jam nunc abstinere ni velis,\\nEx me feres grande aliquod infortunium,\\nPhilomela, atroces verita minas, obmutuit\\nMultoque mane cum vix dilucesceret,\\nPericulosam praepotentis alitis\\nViciniam relinquit, et se contulit\\nCeleriter in remotam solitudinem.\\nIbi sese doctis artibus operam dare\\nImpune tandem posse credit et leves\\nPer summa gramina Zephyrorum spiritus\\nCum dulce fremerent, sibilumque ramulis\\nMobilibus arbor musicum omnis redderet,\\nEt Phoebus etiam Candida purus face\\nInnubilas per auras lucem spargeret\\nHis ilia paret incitamentis canit;", "height": "3916", "width": "2408", "jp2-path": "essayonprinciple00wood_0432.jp2"}, "433": {"fulltext": "APPENDIX. 418\\nSimulque varias celebrat agrestis loci\\nAmcenitates, et voluptatem suam.\\nSed in cavato proximae trunco arboris,\\nSomno sepultus, qui latebat, horridus\\nBubo excitatur quamvis et lucem oderit,\\nPaullum progress us, voce ferali increpat\\nEt, inficetos ni statim cantus, ait,\\nFinieris, istam vocem importunissimam\\nUltor ego, vitamque simul eripiam tibi.\\nHie denique suum misera avis studium abjicit\\nTimensque corvos nocte, bubones die,\\nSilet, dolorve si urgeat, tantum gemit.\\nFabella scripta est in homines quosdam feros,\\nMusa quibus omnis suavior bilem movet.", "height": "3916", "width": "2308", "jp2-path": "essayonprinciple00wood_0433.jp2"}, "434": {"fulltext": "414 APPENDIX.\\nNO. V.\\nEX FABUL1S ^SOPIIS, Fr.Jos. Desbillons.\\nBelluce Pestilentia laborantes.\\nCalamitas, qua non alia diligentior\\nVastandum ad orbem ab inferis emittitur,\\nTerribilis, invicta, efficax, intra dies\\nPaucos, avaram explere Plutonis domum,\\nPestis, vocanda nomine quoniam est suo,\\nIn belluarum eruperat late genus.\\nPermulta fuerant corpora data jam neci\\nReliqua laboriosus urgebat stupor,\\nTristi veterno languida procul, hinc procul\\nExterritus amor, et voluptas fugerant\\nUbique luctus, ubique regnabat pavor.\\nEa tarn atroci cladi perculsus Leo\\nJubet frequentes convocari belluas\\nTurn concionem ubi satis magnam videt\\nCcelestis ira, unius ob noxas, ait,\\nSaepe universam plectit multitudinem\\nNunc ergo judex quisque, non mollis sibi,\\nPescendat in se, dispiciatque sedulo", "height": "3948", "width": "2576", "jp2-path": "essayonprinciple00wood_0434.jp2"}, "435": {"fulltext": "APPENDIX. 415\\nSiquid erit quo fors irritaverit Deos\\nUt una demum, rite sese devovens,\\nHostia, tot innocentes redimat victimas.\\nEgo equidem culpa non carere me puto\\nNam oves et agnos, et juvencos et boves\\nComedi nee peperci ipsis custodibus\\nEt haec et alia ejusmodi quam plurima\\nPatrata. fateor, jure nullo sunt meo.\\nHie vulpis, ut quae sponte adulari solet,\\nVitam reclamat omnem tanti principis\\nCulpae inveniri posse nulli obnoxiam:\\nOvillis, in quit, bubulisque carnibus\\nSaepe satiasti nobilem tuam famem\\nQuid turn pecudibus magnus hie stultis honos\\nEst habitus, alvum quod tuam repleverint.\\nAliquot praeterea rusticos discerpere\\nPlacuit at hostes in modum hostilem licet\\nTractare, nee jus bellicum ulcisci vetat.\\nQuag visa postquam est plausibilis oratio\\nSua confiteri scelera non dubitat tigris,\\nNon dubitat ursus, non lupus, non caeteri\\nCarnifices j et qui nigra norint vertere\\nIn Candida, adsunt oratores callidi.\\nRestabat asinus is suum bona fide\\nScrutatur animum et invenire vix potest\\nQuidquam, notari dignum ad extremum tamen", "height": "3912", "width": "2304", "jp2-path": "essayonprinciple00wood_0435.jp2"}, "436": {"fulltext": "416\\nAPPENDIX\\nMihi, quasi per nebulam, ait, in mentem venit,\\nOlim me divertisse, nescio qua via,\\nAd sacrificuli nescio cujus pratulum\\nHerba bona, tenera, si bene memini, fuit\\nAttingere autem non licebat hanc mihi,\\nNoram abstinere volui sed stimulans fames,\\nEt allicientis opportunitas boni,\\nEt genius aliquis me malus, credo, impulit,\\nLabella dulci ut admoverem gramini,\\nPauxillulumque pabuli decerperem.\\nVix ea repente in infelicem bestiam\\nAb universo ccetu clamor tollitur\\nPereat scelestus, causa communis mali,\\nAsinus nefandi pereat auctor criminis.\\nSacrificuli herbam comedere quid hoc est, nisi\\nHorribile, junctum cum sacrilegio scelus\\nHinc nos videlicet hisce cladibus premit\\nCcelestis ira Numen ergo debita\\nStatim expietur impiae pecudis nece.\\nDiram hanc iniquus ipse Rex sententiam\\nNon erubescit comprobare nee mora,\\nFcede immolandam tradit hostiam lupo.\\nPessundari inopes, ubi potentium interest,\\njFacile in grave scelus culpa mutatur levis.", "height": "3932", "width": "2580", "jp2-path": "essayonprinciple00wood_0436.jp2"}, "437": {"fulltext": "APPENDIX, 417\\nNO. VI.\\nA learned and ingenious friend to whom I am indebted\\nfor some very just remarks, of which I have availed myself\\nin the preceding Essay, has furnished me with the following\\nacute, and, as I think, satisfactory explanation of a passage in\\nTacitus, extremely obscure in itself, and concerning the\\nmeaning of which the commentators are not agreed.\\nTacitus meaning to say, That Domitian, wishing to be\\nC( the great, and indeed the only object in the empire, and\\nthat nobody should appear with any sort of lustre in it but\\ntc himself, was exceedingly jealous of the great reputation\\nwhich Agricola had acquired by his skill in war, expres-\\nses himself thus\\nIn Vit. Agr. cap. 39\\nId sibi maxime formidolosum, privati kominis nomen supra\\nprincipis attolli. Frustra studiafori, et civilium artium decus\\nin silentium acta, si militarem gloriam alius occuparet et\\nccEtera utcunque facilius dissimulari, ducis boni imperatoriam\\nvirtutem esse. Which Gordon translates thus Terrible\\nabove all things it was to him, that the name of a private\\ntc man should be exalted above that of the Prince. In vain\\nJames Edgar, Esq; Commissioner of the Customs, Edinburgh,\\nDd", "height": "3924", "width": "2284", "jp2-path": "essayonprinciple00wood_0437.jp2"}, "438": {"fulltext": "I\\n418\\nAPPENDIX.\\nhad he driven from the public tribunals all pursuits of popular\\ne eloquence and fame, in vain repressed the renown of every\\ncivil Accomplishment, if any other than himself possessed\\nthe gioiv of excelling in war: Nay, however he might\\ndissemble every other distaste, yet to the person of Empe-\\nct ror p. operly appertained the virtue and praise of being a\\ngreat general.\\nc This translation is very good, as far as the words civil\\ne accomplishment/ but what follows is not, in my opinion,\\nthe meaning of Tacitus s words, which I would translate thus:\\nIf any other than himself should become a great object\\nin the empire, as that man must necessarily be who pos-\\nec sesses military glory. For however he might conceal a\\ne value for excellence of every other kind, and even affect\\na contempt of it, yet he could not but allow, that skill in\\nwar, and the talents of a great General, were an ornament\\nto the Imperial dignity itself.\\nDomitian did not pretend to any skill in war and there-\\nfore the word u alius could never be intended to express a.\\ncompetitor with him in it/", "height": "3932", "width": "2596", "jp2-path": "essayonprinciple00wood_0438.jp2"}, "439": {"fulltext": "INDEX.\\nd2", "height": "3904", "width": "2256", "jp2-path": "essayonprinciple00wood_0439.jp2"}, "440": {"fulltext": "", "height": "3924", "width": "2580", "jp2-path": "essayonprinciple00wood_0440.jp2"}, "441": {"fulltext": "INDEX.\\nABLANCOURT, his translations excellent, 225.\\nhis just observations on translation, ibid*\\nAddison., translation from Claudian cited, 53.\\nAdrian, his address to his soul, 234.\\nAlembert, D his observations on translation 4, quoted, 23;\\nhis translations from Tacitus, 24 et seq. 54.\\nAlis et Alexis, romance, 239-\\nAldrich, Dr, his translation of a humorous song, 368.\\nAmbiguous expressions how to be translated, 28.\\nAncient translation, few specimens of, existing at present, 2, 3.\\nAnguillara, beautiful passages from his translation of Ovid s\\nMetamorphoses, 237, 238, et seq.\\nAnthologia, translation of an epigram from, by Cowper, 131*\\n\u00e2\u0080\u0094of another by Webb, 161 of another by Grotius, 163+\\nDd3", "height": "3924", "width": "2260", "jp2-path": "essayonprinciple00wood_0441.jp2"}, "442": {"fulltext": "422 INDEX.\\nAntiquated terms difficult to be translated, 323.\\nArdentia verba, 322.\\nAratus, phenomena of, translated by Cicero, 3.\\nArias Montanus, his version of the Scriptures, 114.\\nAtterbury, his translation of Horace, Od. iv. 3. 146.\\nB\\nBarnaby, Ebrii Barnabas itinerarium, 368.\\nBatteux, Abbe, remarks on the art of translation, 4. 7\u00c2\u00ab 210.\\nBeattie, Dr, his remark on a passage of Dryden, 99. his re-\\nmark on Castalio, 114.\\nBeattie, J. H. his translation of Pope s Messiah quoted, 165.\\nJBible, translations of, 111. et seq. See Castalio, Arias Mon-\u00c2\u00ab\\ntanus.\\nBoileau, a fable of his translated by Pope, 166.\\nBourne, Vincent, his translation of an English anacreontic,\\n105. Of Colin and Lucy, 26 Of William and Margaret,\\n142. Of Chloe hunting, 144.\\nBrowne, Isaac Hawkins, commended, 279.\\nBrown, Thomas, his translation from Lucian, 220.\\nBrumoy, remark on translation by, 274.\\nBuchanan, his version of the Psalms, 269- His Calendae\\nMaice, whence imitated, 43.\\nBurlesque translation, 36l. et seq. 369.\\nButler, See Hudibras.", "height": "3932", "width": "2580", "jp2-path": "essayonprinciple00wood_0442.jp2"}, "443": {"fulltext": "INDEX. 423\\nCampbell, Dr, preliminary dissertation to a new translation\\nof the Gospels, 4. cited 111. et seq.\\nCarmina Quadragesimalia commended, 103.\\nCaractacus of Mason translated into Greek, 156.\\nCasaubon, his translation of Adrian s address to his soul,\\n235.\\nCastalio, his version of the Scriptures, 112.\\nCervantes. See Don Quixote.\\nChaulieu, his beautiful ode on Fontenai quoted, 329\\nChevy-chace, whimsical translation of, 069.\\nCicero had cultivated the art of translation, 1. Translated\\nPlato s Timaeus, Xenophon s GEconomics, and the Pheno-\\nmena of Aratus, 3.\\nCicero, epistles of, translated by Melmoth, 27. 45. 51. His\\norations against Catiline quoted, 134.\\nClaudian, translation from by Hughes, 163.\\ntranslation from by Addison, 59-\\nColin and Lucy, translated by Bourne, 36. By Le Mierre,\\nsee Appendix, NO. 1.\\nColloquial phrases, 259. et seq.\\nCommire Pere, a Latin fable of, 344.\\nCongreve, translation from Horace cited, 96.\\nCorrecting inaccuracies of the original, whether allowable in a\\ntranslator, 54, 55.\\nD d 4", "height": "3904", "width": "2300", "jp2-path": "essayonprinciple00wood_0443.jp2"}, "444": {"fulltext": "424\\nINDEX-\\nCowper, a passase from his translation of Homer, 85. His\\ntranslation of an epigram from the Anthologia, 131. His\\nthoughts on translation, 212.\\nCotton, his translation of Montaigne cited, 260. His Virgil\\ntravesty, 367.\\nCowley, translation from Horace cited, 95.\\nCumberland, Mr, his excellent translations of fragments of the\\nancient Greek dramatists, 167. et seq.\\nCunighius his translation of the Iliad cited, 85. 93.\\nD\\nDelille, or De Lille, his opinion as to the liberty allowed in\\npoetical translation, 79* His translation of the Georgics\\ncited, 101. 125. Of the Paradise Lost, 126.\\nDe Moutier, Lettres a Emilie quoted, 127.\\nDenham, his opinion of the liberty allowed in translating poe-\\ntry, 65. His compliment to Fanshaw, 75.\\nDescriptions, containing a series of minute distinctions, ex-\\ntremely difficult to be translated, 34 6.\\nDiphilus, fragments of, translated by Mr Cumberland, 1 69*\\nDon Quixote, difficulty of translating that romance, 281.\\nComparison of the translations of, by Motteux and Smollet,\\n282. et seq.\\nDry den improved poetical translation, 76. His ideas on that\\nsubject, 230.247. -His translation of Lucian s dialogues,", "height": "3932", "width": "2580", "jp2-path": "essayonprinciple00wood_0444.jp2"}, "445": {"fulltext": "INDEX. 425\\n47, 210.\u00e2\u0080\u0094 His translation of Virgil cited, 48. 97. 99- 123\\nHis translation of Du Fresnoy on painting, 101. 205. His\\ntranslation from Horace, 100. 233. His translation of Ta-\\ncitus, 119- Translation from Ovid s Metamorphoses, 135.\\nHis remarks on poetical translation, 246.\\nDesbillons, his admirable fables 343. Specimens from him,\\nAppendix, NO. 4. and 5.\\nDuchat, his Notes on Rabelais, 3QQ.\\nDuclos, a just observation of, 24.\\nDu Fresnoy s art of painting admirably translated by Mr Ma\u00c2\u00ab\\nson, 2. Translation of, by Dtyden, 101. 205.\\nDumesnil, Synonymes of, 22.\\nE\\nEase, an essential requisite in a good translation, 16. 201.\\nEbrii Barnabse Itineranum, 368.\\nEchard, his translation of Plautus cited, 136. 26l. et seq.\\nhis translation of Terence cited, 26l. 263. 266, 267\\nEllipsis more freely admitted in Latin than in English, 198.\\nEobanus, Helius, his translation of Theocritus cited, 333.\\nEpigrams, some incapable of translation, 276.\\nEpigram from Martial well translated, 90.\\nEpistolae obscurorum virorum, 117.\\nEpithets used by Homer, sometimes mere expletives, 5$.", "height": "3924", "width": "2304", "jp2-path": "essayonprinciple00wood_0445.jp2"}, "446": {"fulltext": "426 INDEX.\\nFacius, Bartolomaeus his faulty translation of Arrian, 68.\\nFanshaw praised as a translator by Denham, 75. His trans-\\nlation of Pastor Fido cited, 76.\\nFenelon s Telemachus, 204.\\nFestus de verborum significatione, 22.\\nFlorid writing, 325. 353.\\nFolard, his commentary on Polybius erroneous, from his ig-\\nnorance of the Greek language, 18.\\nFontaine, La, his character as a fabulist drawn by Marmon-\\ntel, 338.\\nhis fables cited, 337. 339. Accounted impossible to\\nto be translated, 342.\\nFontaines, Abbe des, his translation of Virgil, 118.\\nFontenelle, his translation of Adrian s address to his soul,\\n235.\\nFrancklin, his poetical essay on translation, 4. His opinion\\nas to a translator s liberty of improving on his original, 80.\\nFrancklin s translation of Lucian cited, 231. et seq.\\nFrench language admits of greater brevity of expression than\\nthe English, 194.\\nFresnoy. See Du Fresnoy.\\nGil Bias, Smollett s translation of, quoted, 257.\\nGirard, Synonym es Francois, 22.", "height": "3932", "width": "2672", "jp2-path": "essayonprinciple00wood_0446.jp2"}, "447": {"fulltext": "INDEX. 427\\nGlasse, his translation of Mason s Caractacus, 1 56. Of Sam-\\nson Agonistes, l6l.\\nGordon s Tacitus cited, 30. 196. His injudicious imitation\\nof the Latin construction, ibid, et 198.\\nGreek Dramatists, fragments of, translated by Cumberland,\\n167. etseq.\\nGreek language allows of conciseness beyond most others,\\n170. Admits of inversions which are inconsistent with the\\ngenius of the English, 196. etseq.\\nGuischardt has demonstrated the errors in Folard s commen-\\ntary on Polybius, IQ.\\nH\\nHill on synonymous words, 23.\\nHobbes, his translation of Homer cited, 87- 122. 272.\\nHogarth, his engravings from Hudibras, 385.\\nHogaeus, Paradisus Amissus Miltoni cited, 105.\\nHoliday, his translation of Juvenal cited, 67.\\nHolland s translation of Pliny cited, 351.\\nHomer, his epithets frequently mere expletives, 50.\\nCharacteristics of his style, 11 7.\\nPope s translation of the Iliad cited, 38. 49. 80. et\\nseq. 102. 128, 129, 130. See Cunighius, Hobbes. Mr\\nPope departs sometimes from the character of Homer s\\nstyle, 117- Translation of the Odyssey cited, 271. Mac-\\npherson s Homer cited, 197. The comparative excellencies\\nof Homer and Virgil, 130.", "height": "3912", "width": "2308", "jp2-path": "essayonprinciple00wood_0447.jp2"}, "448": {"fulltext": "428 INDEX.\\nHorace, translations from, cited. Vide Johnson, Roscom*\\nmon, Dryden, Congreve, Nivernois, Hughes.\\nHudibras, remarkable combination of wit and humour in that\\npoem, 385. Voltaire has attempted to translate some pas-\\nsages of it, ibid, et seq Excellent French translation of\\nthat poem by Colonel Townley cited, 3SQ. et seq.\\nHuet de optimo genere interpretandi, 5, 14.\\nHughes s translation from Claudian cited, 163. Ditto from\\nHorace, 241.\\nI\\nIdeas superadded to the original by the translator, 35. Ex^\\namples of, from Bourne, 36. From Pope s Homer, 38.\\nFrom his imitations of Horace, 47- From Johnston s\\nversion of the Psalms, 39. From Mason s Du Fresnoy on\\npainting, 42. From Malherbe, 44 \u00e2\u0080\u0094-^om Melmoth s Ci-\\ncero s epistles, 45. From Pryden s Lucian, 47.\\nIdeas retrenched from the original by the translator, 47. Ex-*\\namples of, from Dry den s Virgil, 48. From Pope s Iliad,\\n49. From Melmoth s Cicero s epistles, 51, 52.\\nThe liberty of adding to or retrenching from the ideas of the\\noriginal, is more allowable in poetical than in prose trans-\\nlation, 63, And in lyric poetry more than any other, 230\\nIdioms, translation of, 251. General d oms, 253. et seq.\u00e2\u0080\u0094*\\nIdiomatic phrases, 259- The translation is perfect, w T hea\\ncorresponding idioms are employed, ibid. Examples from", "height": "3932", "width": "2616", "jp2-path": "essayonprinciple00wood_0448.jp2"}, "449": {"fulltext": "ittDEX. 429\\nCotton s translation of Montaigne, from Eehard, Sterne,\\nibid, et seq.\u00e2\u0080\u0094 Licentiousness in the translation of idioms,\\n262. Examples, ibid. Translator s resource when no cor-\\nresponding idioms are to be found, 275.\\nIliad. See Homer.\\nImitation, specimen of, as distinguished from translation, S33*\\nInterpretation distinguished from translation. See Pearce.\\nJohnson, Ben, translation from Horace, 64. et seq.\\nJohnston, Arthur, his translation of the Psalms, 3$. 269.\\nJortin, Dr, translation from Simonides, 152.\\nJuvenal, translation of, by Holiday, cited, 67.\u00e2\u0080\u0094 Translation\\nof, by Owen, cited, 126.\\nIsidorus Hispalensis, Origines, 22.\\nLatin language admits of a brevity of expression which can-\\nnot be succesfully imitated in English, 178. It admits\\nof inversions, which are inconsistent with the genius of\\nthe English, 196. Admits of ellipsis more freely than\\nthe English, 198.\\nL Estrange, his translation from Seneca cited, 138.\\nLipsius, his opinion with regard to the liberty allowed in\\ntranslation, 56.\\nLowth, Dr, his imitation of an ode of Horace, 232.\\nLucan, See May, Rowe.\\nLucian, Franklin s translation of, cited, 221. et seq Dry*\\nden s, Brown s, c. ibid, et seq.", "height": "3924", "width": "2304", "jp2-path": "essayonprinciple00wood_0449.jp2"}, "450": {"fulltext": "430\\nINDEX*\\nLyric Poetry allows the greatest liberty of translation, 231.\u00e2\u0080\u0094\\nSpecimens of translation of, 232. et seq.\\nM\\nMacpherson s translation of the Iliad, 197, lgg.\\nMalherbe cited, 44.\\nMarkham, Dr, his imitation of Simonides, 155.\\nMarmontel, his opinion concerning naivete of expression 335*\\nnote.\\nMartial, an epigram of his well translated, 90.\u00e2\u0080\u0094 -Some of his\\nepigrams incapable of translation, 262.\\nMarot, some lines of his incapable of translation, 263. Imi-\\ntation of his manner, 264.\\nMason s translation of Du Fresnoy s art of painting, 42.\\nHis Caractacus, Greek translation of, 156.\\nMay, his translation of Lucan, 68. et seq. compared with\\nRowe s, ibid.\\nMelmoth, one of the best of the English translators, 51. 214.\\net seq His translation of Cicero s epistles cited, 27* 45.\\n51. 179 et seq. 214. et seq. 275 His translation of Pli-\\nny s epistles cited, 52. 179- 217. et seq. 275 His unjust\\ncensure of a passage in Mr Pope s version of the Iliad,\\n49-\\nMessiah of Pope, passages from, translated, 165.\\nMilton, his translation of Horace s ode to Pyrrha, 75. App.\\nNO. 2.\\na passage from his tractate on education difficult to be\\ntranslated with corresponding simplicity, 326.\u00e2\u0080\u0094 His Pa*", "height": "3928", "width": "2616", "jp2-path": "essayonprinciple00wood_0450.jp2"}, "451": {"fulltext": "INDEX. 431\\nradise Lost cited, 323. See Hogeeus, His Comus cited,\\n324.\\nMoncrif, his ballad of Alexis et Alis, 239.\\nMontaigne, Cotton s translation of, cited, 259. 260.\\nMontague, Mrs, her Essay on Shakespeare commended, 381.\\nMotteux, his translation ef Don Quixote compared with that\\nof Smollet, 283. et seq. His translation of Rabelais, 397.\\nMurphy, his translation of Tacitus cited, 27 30. 182. et seq.\\nN\\nNaivete, in what it consists, 335. 338. The fables of Phse-\\ndrus are remarkable for this character, 336. As are those of\\nLa Fontaine, 337. et seq, Naivete of particular phrases\\nand passages very difficult to be imitated in a translation,\\n278, 279- Sometimes impossible, ibid.\\nNivernois, Due de, his translation of Horace s dialogue with\\nLydia, 149-\\nNonius de proprietate Sermonum, 22.\\nO\\nOriginal Poets have been the best translators of poetry, 373.\\nOrreiy, Lord, his translation of a passage of Cicero, 273.\\nOvid. See Sandys, Dryden, Anguillara, Demoutier.\\nOzell, his edition of Urquhart and Motteux s translation of\\nRabelais, SQS.\\nOwen, some epigrams of his incapable of translation, 263.", "height": "3924", "width": "2300", "jp2-path": "essayonprinciple00wood_0451.jp2"}, "452": {"fulltext": "432\\nINDEX.\\nP\\nParaphrase, examples of, as distinguished from translation,\\n232. et seq. 238. et seq.\\nParnel, his translation of Chaulieu s verses on Fontenay, 331.\\nPearce, Dr Zach. his distinction between interpretation anil\\ntranslation, .5.\\nPhaedrus, his fables cited, 336.\\nPitcairne, Dr, his Latin poetry characterised, 268.\\nPitt, eminent as a translator, 374*.\\nPlautus. See Echard.\\nPliny the Elder, his description of the Nightingale, 350.\\nAnalysis of a chapter of his Natural History, 354t*\\nPliny the Younger, his epistles. See Melmoth.\\nPoem, whether it can be well translated into prose, ch. 8. 201.\\nPoetical translation, liberty allowed to it, 63. et seq.\\nprogress of poetical translation in England, 64 et seq.\\nPoetry, characteristics essential to it, 203. Didactic poetry\\nis the most capable of a prose translation, 205. Lyric\\npoetry incapable of a prose translation, 207. Lyric poetry\\nadmits of the greatest liberty in translation, 231.\\nPolybius erroneously understood by Folard, 18.\\nPope. See Homer. His translation of Sappho s epistle to\\nPhaon cited, 103. His Dying Christian to his soul, 236.\\nPopma Ausonius de differentiis verborum, 22.\\nPrior, his Chloe hunting, translated by Bourne, 144.\\nHis translation of Adrians address to his soul, 235.", "height": "3932", "width": "2616", "jp2-path": "essayonprinciple00wood_0452.jp2"}, "453": {"fulltext": "INDEX. 433\\nQ\\nQuintilian recommends the practice of translation, 2.\\nQuixote, Don, comparison of Motteux s translation of, with\\nSmollet s, 282. et seq.\\nR\\nRabelais admirably translated by Urquhart and Motteux, 397.\\nRoscommon s Essay on translated verse, 77. A precept of\\nhis with regard to poetical translation, controverted, 78.-\u00e2\u0080\u0094\\nTranslation from Horace cited, 95.\\nRousseau, Devin de village cited, 139- His translations\\nfrom Tacitus cited, 195.\\nRowe s Lucan cited, 72.\\nS\\nSacred Scriptures, character of their style, 110.\\nSallust, translation of, 188.\\nSandys, his character as a translator of poetry, 73. His trans-\\nlation of Ovid cited, ibid.\\nScaliger, Joseph, his absurd eulogium of an ode of Ha*\\nrace, 146.\\nScarron s burlesque translation of Virgil cited, 364,\\nSeneca. See L Estrange.\\nShakespeare, translation from, by Voltaire, 375. et seq.\u00e2\u0080\u0094 -His\\nphraseology difficult to be imitated in a translation, 323.\\net seq.\\ne e", "height": "3928", "width": "2304", "jp2-path": "essayonprinciple00wood_0453.jp2"}, "454": {"fulltext": "434\\nINDEX,\\nSimonides, fragment of, translated by Jortin, 152. Imitated\\nb}*- Markham, 155.\\nSimplicity of thought and expresioli difficult to be imitated in\\na translation, 326.\\nSmart s prose translation of Horace, 207.\\nSmollet s translation of Gil Bias cited, 242. His translation\\nof Don Quixote compared with Motteux s, 266.\\nSotheby s translation of the Georgics cited, 44. 100.\\nSpelman s Xenophon cited, 255.\\nSterne s Slawkenbergius s tale cited, 262.\\nSteuart s Sallust commended, 188. cited, 189* et seq.\\nStrada s Contest of the Musician and Nightingale, extreme\\ndifficulty of translating it, 346.\\nStyle and manner of the original to be imitated in the trans-\\nlation, 109\u00c2\u00ab et seq. A just taste requisite for the discern-\\nment of those characters, 132. Limitations of the rule\\nregarding the imitation of style, 177* et seq.\\nTacitus. See D Ablancourt, D Alembert, Gordon, Murphy,\\nDryden, Rousseau. Difficulty of translating that author, 226.\\nTalbot, Miss, her sentiments of the importance of transla-\\ntion, 9-\\nTasso, imitation of a passage from Virgil, 328.\\nTelemachus, a poem in prose, 204.\\nTerence. See Echard.\\nTheocritus, translation of a passage from, by Hclius Eoba-\\nmis, 333.", "height": "3932", "width": "2596", "jp2-path": "essayonprinciple00wood_0454.jp2"}, "455": {"fulltext": "INDEX. 435\\nThiebanlt, his opinion of La Fontaine, 342.\\nTickelFs ballad of Lucy and Colin, translated by Bourne, 36.\\nTranslated by Le Mierre, Appendix, NO. 1.\\nTimocles, fragment of, translated by Cumberland, 168.\\nTownley, Colonel, his translation of Hudibras, 38$.\\nTranslation, art of, very little cultivated, 1. Recommended.\\nby Quinctilian, Pliny and Cicero, 2. Ancient translations,\\nfew specimens of, existing, 3. et seq. Reasons why the art\\nis at a low ebb among the moderns, 7\u00c2\u00ab Description or de-\\nfinition of a good translation, 13. 15. Laws of translation,\\n16. First general law, That the translation should give\\nte a complete transcript of the ideas of the original work,\\n17- et seq. Translation, when it ought to be close, and\\nwhen strict, depends on the nature of the work, 55. Trans-\\nlation, poetical, progress of it in England, 63. et seq. Se-\\ncond general law, The style and manner of writing in a\\ntranslation should be of the same character with that of\\nthe original, 109- et seq. Specimens of good poetical\\ntranslations, 141. et seq. Third general rule, e A trans-\\nc lation should have all the ease of original, -composition,\\n5209* et seq. A translator ought always to figure to, him-\\nself in what manner the original author would have ex-\\npressed himself, if he had written in the language of the\\ntranslation, 301. Licentious translation, 220. The ge-\\nnius of the translator should be akin to that of the original\\nauthor, 371. The best translators have shone in original\\ncomposition of the same species, 373,", "height": "3908", "width": "2304", "jp2-path": "essayonprinciple00wood_0455.jp2"}, "456": {"fulltext": "436\\nINDEX.\\nTravesty or burlesque translation, 36 1. et seq. ^-Scarron s\\nand Cotton s Virgil Travesty, 364. et seq.\\nU\\nUrquhart, Sir Thomas, his excellent translation of Rabe-\\nlais, 307-\\nV\\nVarro de lingua Latina, 22.\\nVirgil. See Dryden, Delille, Fontaines, Sotheby. Example\\nof false taste in a passage of Virgil, 363.\\nVoltaire, his remark on the Abbe des Fontaine s translation\\nof Virgil, 118. His translations from Shakespeare very\\nfaulty, 375. His perversion of the character of Hamlet,\\n380. Character of the wit of Voltaire, 383. He had no\\ntalent for humorous composition, 384. Character of his\\nnovels, ibid.\\nW\\nWarton, eminent as a poetical translator, 374.\\nWollaston s Religion of Nature, passage from, difficult to be\\ntranslated, 327-\\nXenophon s (Economics translated by Cicero, 3,\u00e2\u0080\u0094 Speknan s\\nXenophon cited, 255,\\nLBJa CS\\nLBB% ?9", "height": "3932", "width": "2584", "jp2-path": "essayonprinciple00wood_0456.jp2"}, "457": {"fulltext": "", "height": "3932", "width": "2252", "jp2-path": "essayonprinciple00wood_0457.jp2"}, "458": {"fulltext": "", "height": "3868", "width": "2416", "jp2-path": "essayonprinciple00wood_0458.jp2"}, "459": {"fulltext": "", "height": "3848", "width": "2292", "jp2-path": "essayonprinciple00wood_0459.jp2"}, "460": {"fulltext": "LIBRARY OF CONGRESS\\n027 249 399 6", "height": "4058", "width": "2521", "jp2-path": "essayonprinciple00wood_0460.jp2"}}