Part 2 (2/2)

[Footnote 19: Mill, _History of British India_, vi. 433.]

[Footnote 20: Elphinstone, _History of India_, p. 77.]

[Footnote 21: Lord Lawrence said: ”Light taxation is, in my mind, the panacea for foreign rule in India.” Bosworth Smith, _Life of Lord Lawrence_, vol. ii. p. 497.]

[Footnote 22: The essential portions of this despatch, in so far as the purposes of the present argument are concerned, are given in Sir Richard Temple's work (p. 185), and in Bosworth Smith's _Life of Lord Lawrence_, vol. ii. p. 186.]

[Footnote 23: Goldwin Smith, _Lectures on the Study of History_, p.

154.]

II

TRANSLATION AND PARAPHRASE

_”The Edinburgh Review,” July 1913_

When Emerson said ”We like everything to do its office, whether it be a milch-cow or a rattlesnake,” he a.s.sumed, perhaps somewhat too hastily in the latter case, that all the world understands the functions which a milch-cow or a rattlesnake is called upon to perform. No one can doubt that the office of a translator is to translate, but a wide difference of opinion may exist, and, in fact, has always existed, as to the lat.i.tude which he may allow himself in translating. Is he to adhere rigidly to a literal rendering of the original text, or is paraphrase permissible, and, if permissible, within what limits may it be adopted?

In deciding which of these courses to pursue, the translator stands between Scylla and Charybdis. If he departs too widely from the precise words of the text, he incurs the blame of the purist, who will accuse him of foisting language on the original author which the latter never employed, with the possible result that even the ideas or sentiments which it had been intended to convey have been disfigured. If, on the other hand, he renders word for word, he will often find, more especially if his translation be in verse, that in a cacophonous attempt to force the genius of one language into an unnatural channel, the whole of the beauty and even, possibly, some of the real meaning of the original have been allowed to evaporate. Dr. Fitzmaurice-Kelly, in an instructive article on Translation contributed to the _Encyclopaedia Britannica_ quotes the high authority of Dryden as to the course which should be followed in the execution of an ideal translation.

A translator (Dryden writes) that would write with any force or spirit of an original must never dwell on the words of his author.

He ought to possess himself entirely, and perfectly comprehend the genius and sense of his author, the nature of the subject, and the terms of the art or subject treated of; and then he will express himself as justly, and with as much life, as if he wrote an original; whereas he who copies word for word loses all the spirit in the tedious transfusion.

In the application of Dryden's canon a distinction has to be made between prose and verse. The composition of good prose, which Coleridge described as ”words in the right order,” is, indeed, of the utmost importance for all the purposes of the historian, the writer on philosophy, or the orator. An example of the manner in which fine prose can bring to the mind a vivid conception of a striking event is Jeremy Collier's description of Cranmer's death, which excited the enthusiastic admiration of Mr. Gladstone.[24] He seemed [Collier wrote] ”to repel the force of the fire and to overlook the torture, by strength of thought.”

Nevertheless, the main object of the prose writer, and still more of the orator, should be to state his facts or to prove his case. Cato laid down the very sound principle ”rem tene, verba sequentur,” and Quintilian held that ”no speaker, when important interests are involved, should be very solicitous about his words.” It is true that this principle is one that has been more often honoured in the breach than the observance. Lucian, in his _Lexiphanes_,[25] directs the shafts of his keen satire against the meticulous attention to phraseology practised by his contemporaries. Cardinal Bembo sacrificed substance to form to the extent of advising young men not to read St. Paul for fear that their style should be injured, and Professor Saintsbury[26]

mentions the case of a French author, Paul de Saint-Victor, who ”used, when sitting down to write, to put words that had struck his fancy at intervals over the sheet, and write his matter in and up to them.” These are instances of that word-wors.h.i.+p run mad which has not infrequently led to dire results, inasmuch as it has tended to engender the belief that statesmans.h.i.+p is synonymous with fine writing or perfervid oratory.

The oratory in which Demosthenes excelled, Professor Bury says,[27] ”was one of the curses of Greek politics.”

The attention paid by the ancients to what may be termed tricks of style has probably in some degree enhanced the difficulties of prose translation. It may not always be easy in a foreign language to reproduce the subtle linguistic shades of Demosthenic oratory--the Anaphora (repet.i.tion of the same word at the beginning of co-ordinate sentences following one another), the Anastrophe (the final word of a sentence repeated at the beginning of one immediately following), the Polysyndeton (the same conjunction repeated), or the Epidiorthosis (the correction of an expression). Nevertheless, in dealing with a prose composition, the weight of the arguments, the lucidity with which the facts are set forth, and the force with which the conclusions are driven home, rank, or should rank, in the mind of the reader higher than any feelings which are derived from the music of the words or the skilful order in which they are arranged. Moreover, in prose more frequently than in verse, it is the beauty of the idea expressed which attracts rather than the language in which it is clothed. Thus, for instance, there can be no difficulty in translating the celebrated metaphor of Pericles[28] that ”the loss of the youth of the city was as if the spring was taken out of the year,” because the beauty of the idea can in no way suffer by presenting it in English, French, or German rather than in the original Greek. Again, to quote another instance from Latin, the fine epitaph to St. Ovinus in Ely Cathedral: ”Lucem tuam Ovino da, Deus, et requiem,” loses nothing of its terse pathos by being rendered into English. Occasionally, indeed, the truth is forced upon us that even in prose ”a thing may be well said once but cannot be well said twice” (t?

?a??? e?pe?? ?pa? pe??????eta?, d?? d? ??? ??d??eta?), but this is generally because the genius of one language lends itself with special ease to some singularly felicitous and often epigrammatic form of expression which is almost or sometimes even quite untranslatable. Who, for instance, would dare to translate into English the following description which the d.u.c.h.esse de Dino[29] gave of a lady of her acquaintance: ”Elle n'a jamais ete jolie, mais elle etait blanche et fraiche, _avec quelques jolis details”_? On the whole, however, it may be said that if the prose translator is thoroughly well acquainted with both of the languages which he has to handle, he ought to be able to pay adequate homage to the genius of the one without offering undue violence to that of the other.

The case of the translator of poetry, which Coleridge defined as ”the best words in the best order,” is manifestly very different. A phrase which is harmonious or pregnant with fire in one language may become discordant, flat, and vapid when translated into another. Sh.e.l.ley spoke of ”the vanity of translation.” ”It were as wise (he said) to cast a violet into a crucible that you might discover the formal principle of its colour and odour, as seek to transfuse from one language into another the creations of a poet.”

Longinus has told us[30] that ”beautiful words are the very light of thought” (f?? ??? t? ??t? ?d??? t?? ??? t? ?a?? ???ata), but it will often happen, in reading a fine pa.s.sage, that on a.n.a.lysing the sentiments evoked, it is difficult to decide whether they are due to the thought or to the beauty of the words. A mere word, as in the case of Edgar Poe's ”Nevermore,” has at times inspired a poet. When Keats, speaking of Melancholy, says:

She lives with Beauty--Beauty that must die-- And Joy, whose hand is ever on his lips, Bidding adieu,

or when Mrs. Browning writes:

... Young As Eve with Nature's daybreak on her face,

the pleasure, both of sense and sentiment, is in each case derived alike from the music of the language and the beauty of the ideas. But in such lines as

Arethusa arose from her couch of snows, etc.,

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