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ter, and we presume that the cause assigned for this omission, in the note, will amply satisfy every reader.
But the chief merit of the Spanish version is in the manner of rendering the exquisite little poems, with which this work is enriched. Their original beauty is so amply preserved in almost every line, that we can but wonder how the translator has been able at once to follow the original so closely, and also to preserve so entirely the very spirit and manner of Gold
smith. We cannot resist our inclination to give his transla| tion of the elegy on the death of a mad dog, and likewise to
amuse our readers with the most nonsensical perversion given in “Le Ministre de Wakefield, par E*** A*** :"
" Pobres, ricos, plebeyos, nobleza,
Oid atentos rni triste cancion,
“En Islington on hombre vivia
“Entre todos igual repartiera
Sus consuelos, ternura y querer
“Habia un perro en el mismo poblado,
Que dó quier hay de perros un mil,
“ Hombre y perro se amaban fielmente,
Mas el diablo á los dos enredó,.
“Los vecinos de asombro al momento
Por las calles se dan á correi;
“Que es de aspecto fatal, peligroso,
“ Pero al fin un milagro se obrara
Que á la plebe toda desmintió:
Pues la herida del hombre sanara,
Y fué el perro solo el que murió.” This admirable version requires no comment; and we should hardly admit the following to a place in our pages, were it not for our desire to present, at one view, the discrepancy between the translation of Mr. Dominguez and that of this Parisian E*** A*** :
“ Or, écoutez, petits et grands,
Une aventure sans pareille ;
“Dans Islington vivoit un homme,
L'exemple et l'amour du prochain;
« Il avoit l'áme charitable,
Secouroit amis, ennemis,
“ Un chien de race haute et forte,
Dans Islington vivoit aussi :
“ D'abord amis l'homme et le chien
Firent bientôt mauvais ménage ;
“ Grande douleur on fit paroître;
Chacun accourut, et se dit:
" Ainsi parloit le voisinage,
Et tout bas chacun assuroit
" Mais toute outre fut l'aventure :
Voici ce qu'il en arriva :
Et ce fut le chien qui creva." Whoever can read the three first verses of this ludicrous attempt at conveying Goldsmith's elegy, without enjoying a hearty laugh at the absurd misconception of all its point and effect, must be possessed of risible muscles much less easily
moved than our own. We are also gravely furnished by this Monsieur E. A. with a valuable piece of literary information, which, in his opinion, doubtless, destroys any claim of our English author, to the credit of originality : “Le fond de cette élégie burlesque est pris dans une épigramme de l'Anthologie, qui a été plusieurs fois traduite ou imitée en vers Français." But we have already wasted more words on him than his whole translation is worth.
The universally admired poem, called the Hermit, both in its measure, and in the beautiful simplicity of its style, is peculiarly adapted to the language of the ancient Troubadours; and in the hands of Mr. Dominguez, this favourite ballad has lost little of the attraction which the original possesses. In two or three instances only, a single stanza is extended to two in the translation. In the beginning of the verse,
66 and now when busy crowds retire," &c. the introduction of the libertine in the translation, cannot be considered as an improvement. It mars the simplicity of thought in the original.
Extended as our remarks have been, we know we shall receive approbation rather than censure, for inserting, entire, the beautiful translation of that exquisite little madrigal, which Goldsmith has given us—“When lovely woman stoops to folly.” Shall we honestly confess, that in our imperfect judgment, this version, in all respects, equals the original ? It breathes the spirit of original composition throughout, while it conveys, in every line, all the beauty and pathos of the original, improved, perhaps, by the music of the measure, and certainly rendered more effective by the mingled melody and majesty of the language of Spain. It carries to the mind, in itself, without other or farther proof, conviction of the poetical genius of its able translator. But let it speak for itself :
El falso pecho
“ ¿Como de negra
“Ay! solo un triste
Que la liberte
Y aqueste medio
Es el .... morir." We have now done with the translation of Mr. Dominguez; and we ardently hope that the merits of the work may receive that just meed of applause they so eminently deserve. Could any thing add to our high respect for the talents of the translator, it would be the knowledge, that in making his selections from different works, in other languages, in order to engraft them on his own, he is guided by no desire of exhibiting his own capabilities, either as a poet or a writer; but solely by a wish to communicate to the patriots of South America, his brave and injured countrymen, a relish for such works as may inspire them with a taste for all that may tend to elevate the morality of their character, cherish in them the love of unaffected virtue, and instruct them in the theory of true and rational liberty.
In conclusion, we have only to express our sorrow that our remarks have been necessarily thrown together with such haste, as to leave no hope that they do justice to the subject; and likewise to add our wish, that this may be by no means the last time we shall have an opportunity of noticing, at more leisure, and at more length, the productions of Mr. Dominguez.
ART. XX.-Le Notti Romane. Di ALESSANDRO VERRI, Mi.
lano Dalla Società tipografica de classici Italiani. 1822. (2) The Roman Nights at the tomb of the Scipios. Translated from the Italian of VERRI. In two volumes. Edinburgh:
Constable & Co. London: Hurst, Robinson & Co. 1825. (3) Roman Nights, or the tomb of the Scipios. By ALESSAN
DRO VERRI. In two volumes. Translated from the Italian by a Lady. New-York: Bliss & White. Carey & Lea, Philadelphia. 1826.
In the year 1780, the tomb of the Scipios, which had long been the vain object of antiquarian research and classical curiosity, was discovered in a subterranean cavern, beneath the humble dwelling of a peasant. Twelve years afterwards, the work of Count Verri made its appearance in Rome. The reception it met with corresponded with its interest and its merits. The three first Nights, which alone are properly entitled, as in the original, “at the tomb of the Scipios,” were published in Rome in 1792. Another edition followed these, dated in the seventh year of the republic. Two others succeeded, in the same city, in 1798 and 1800; one at Paris, in 1797; and two in Genoa, in 1798 and 1803. A French translation appeared at Lausanne in 1796 ; and the editor of the Milan edition asserts, that two versions had been published in England, of the dates of which he is ignorant; though the English translator of 1822 says, that he is the first of his countrymen who has rendered the work into our language. However this may be, numerous editions, according to his statement, have issued from the presses of Turin, Lucca, Leghorn, Florence, and Naples ; and translations have been published in German, Polish, and Spanish. The second volume, containing the three last Nights, or the conferences “sulle ruine della magnificenza antica," was not produced until 1804. Of subsequent editions and translations, we cannot speak, having no authority to direct us. We are pleased, however, to observe, that an American lady, who, as we hear, has been before distinguished for literary acquirement and original composition, has found sufficient leisure to supply our domestic market, with a translation of this highly interesting, and we might add, perhaps, useful work. For it comprehends a dramatic history of ancient Rome, and brings before our eyes, in vivid colouring, the wise and brave, the speculative and daring, the fierce and philosophical, the aristocratic and democratic men of that seven-hilled city, so