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 Goldsmith. We cannot resist our inclination to give his translation 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*** :"

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;
A ma chanson prêtez l'oreille,
Je ne vous tiendrai pas long-temps.

"Dans Islington vivoit un homme,
L'exemple et l'amour du prochain;
De Canterbury jusqu'à Rome
Il n'étoit pas de plus grand saint.

"Il avoit l'áme charitable,
Secouroit amis, ennemis,
Et s'il voyoit nu son semblable,
Il le couvroit de ses habits.

"Un chien de race haute et forte,
Dans Islington vivoit aussi :
En cette ville comme ici,

Il est des chiens de toute sorte.

"D'abord amis l'homme et le chien
Firent bientôt mauvais ménage;
Et tout exprès gagnant la rage,
L'animal mordit le Chrétien.

"Grande douleur on fit paroître ;
Chacun accourut, et se dit:

Juste ciel! mordre un si bon maître !
Ce chien a donc perdu l'esprit ?

"Ainsi parloit le voisinage,
Et tout bas chacun assuroit

Que l'animal ayant la rage,

L'homme infailliblement mourroit.

"Mais toute outre fut l'aventure:
Voici ce qu'il en arriva :
L'homme guérit de sa morsure,
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, "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:

"Ay! solo un triste
Medio la queda
Que ocultar pueda
Su proceder;
Que la liberte
Del cruel estado
De ver tachado
Su honor do quier;

"Y que acusando
Siempre á su amante,
Clame incesante
Su arrepentir;

Y aqueste medio
Tan poderoso,
Mas doloroso,

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.

Di ALESSANDRO VERRI, Mi

1825.

ART. XX.-Le Notti Romane. 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. (3) Roman Nights, or the tomb of the Scipios. By ALESSANDRO 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