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New England (United States) (search for this): chapter 21
es would perhaps be to destroy it, and that which Mr. Andrews finely says of the Faust may be still more true of the Divina Commedia, that it must remain, after all, the enchanted palace; and the bodies and the bones of those who in other days strove to pierce its encircling hedge lie scattered thickly about it. So Mr. W. C. Lawton, himself an experienced translator from the Greek, says of Longfellow's work, His great version is but a partial success, for it essays the unattainable. The New England Poets, p. 138. But if it be possible to win this success, it is probably destined to be done by one translator working singly and not in direct cooperation with others, however gifted or accomplished. Every great literary work needs criticism from other eyes during its progress. Nevertheless it will always remain doubtful whether any such work, even though it be a translation only, can be satisfactorily done by joint labor. After all, when others have done their best, it is often ne
William C. Lawton (search for this): chapter 21
Sachs, Longfellow's cobbler bard; and Dante's terse monosyllables were based upon the language of the people, which he first embodied in art. To mellow its refreshing brevities would perhaps be to destroy it, and that which Mr. Andrews finely says of the Faust may be still more true of the Divina Commedia, that it must remain, after all, the enchanted palace; and the bodies and the bones of those who in other days strove to pierce its encircling hedge lie scattered thickly about it. So Mr. W. C. Lawton, himself an experienced translator from the Greek, says of Longfellow's work, His great version is but a partial success, for it essays the unattainable. The New England Poets, p. 138. But if it be possible to win this success, it is probably destined to be done by one translator working singly and not in direct cooperation with others, however gifted or accomplished. Every great literary work needs criticism from other eyes during its progress. Nevertheless it will always remain do
W. P. Andrews (search for this): chapter 21
he quality of Dante can no more be truthfully transmuted into this than we can transmute the charms of a spring morning into those of a summer afternoon, or violets into roses. Goethe, it is well known, took for his model as to the language of Faust the poetry of Hans Sachs, Longfellow's cobbler bard; and Dante's terse monosyllables were based upon the language of the people, which he first embodied in art. To mellow its refreshing brevities would perhaps be to destroy it, and that which Mr. Andrews finely says of the Faust may be still more true of the Divina Commedia, that it must remain, after all, the enchanted palace; and the bodies and the bones of those who in other days strove to pierce its encircling hedge lie scattered thickly about it. So Mr. W. C. Lawton, himself an experienced translator from the Greek, says of Longfellow's work, His great version is but a partial success, for it essays the unattainable. The New England Poets, p. 138. But if it be possible to win this
Hans Sachs (search for this): chapter 21
eached the highest point attained by Goethe, from the mere difference between the two languages with which he and his original had to deal. The charm of Longfellow's earlier versions is, after all, an English charm, and perhaps the quality of Dante can no more be truthfully transmuted into this than we can transmute the charms of a spring morning into those of a summer afternoon, or violets into roses. Goethe, it is well known, took for his model as to the language of Faust the poetry of Hans Sachs, Longfellow's cobbler bard; and Dante's terse monosyllables were based upon the language of the people, which he first embodied in art. To mellow its refreshing brevities would perhaps be to destroy it, and that which Mr. Andrews finely says of the Faust may be still more true of the Divina Commedia, that it must remain, after all, the enchanted palace; and the bodies and the bones of those who in other days strove to pierce its encircling hedge lie scattered thickly about it. So Mr. W. C
Ferdinand Freiligrath (search for this): chapter 21
that great task which Longfellow, after an early experiment, had dropped for years, and which he resumed after his wife's death, largely for the sake of an absorbing occupation. Eighteen years before, November 24, 1843, he had written to Ferdinand Freiligrath that he had translated sixteen cantos of Dante, and there seems no reason to suppose that he had done aught farther in that direction until this new crisis. After resuming the work, he translated for a time a canto as each day's task, anduction was on the whole an ideal one, and whether, in fact, a less perfect work coming from a single mind might not surpass in freshness of quality, and therefore in successful effort, any joint product. Longfellow had written long before to Freiligrath that making a translation was like running a ploughshare through the soil of one's mind, Life, II. 15. and it would be plainly impossible to run ploughshares simultaneously through half a dozen different minds at precisely the same angle. Th
Faust (search for this): chapter 21
here one strives to make the translation identical with the original; so that one is not instead of the other, but in the place of the other. This sort of translation . .. approaches the interlinear version, and makes the understanding of the original a much easier task; thus we are led into the original,—yes, even driven in; and herein the great merit of this kind of translation lies. I here follow the condensed version of Mr. W. P. Andrews, in his remarkable paper On the Translation of Faust (Atlantic Monthly, LXVI., 733). It may be doubted, however, whether Longfellow, even if left to himself in making his version, could ever have reached the highest point attained by Goethe, from the mere difference between the two languages with which he and his original had to deal. The charm of Longfellow's earlier versions is, after all, an English charm, and perhaps the quality of Dante can no more be truthfully transmuted into this than we can transmute the charms of a spring morni
Henry Wadsworth Longfellow (search for this): chapter 21
ante We come now to that great task which Longfellow, after an early experiment, had dropped for re in successful effort, any joint product. Longfellow had written long before to Freiligrath that in the direction of caution than of vigor. Longfellow's own temperament was of the gracious and coe Study of the Divine Comedy speaks only of Longfellow's notes and illustrations, which he praises onference, while in his Dante essay he ranks Longfellow's as the best of the complete translations, ad undoubtedly enhanced in width and depth Mr. Longfellow's knowledge of the Italian language; their ciel di bel sereno adorno. The following is Longfellow's translation of 1839, made by the man of thator rightly discards the oft of the earlier Longfellow version, but his at the beginning is surely Norton's prose translation as the standard, Longfellow's later version seems to me to gain scarcely33). It may be doubted, however, whether Longfellow, even if left to himself in making his vers[7 more...]
Divine Comedy (search for this): chapter 21
the domineering quality; and it is certainly a noticeable outcome of all this joint effort at constructing a version of this great world-poem, that one of the two original delegates, Professor Norton, should ultimately have published a prose translation of his own. It is also to be observed that Professor Norton, in the original preface to his version, while praising several other translators, does not so much as mention the name of Longfellow; and in his list of Aids to the Study of the Divine Comedy speaks only of Longfellow's notes and illustrations, which he praises as admirable. Even Lowell, the other original member of the conference, while in his Dante essay he ranks Longfellow's as the best of the complete translations, applies the word admirable only to those fragmentary early versions, made for Longfellow's college classes twenty years before, —versions which the completed work was apparently intended to supersede. Far be it from me to imply that any disloyalty was show
Italian (search for this): chapter 21
be that they do not praise the Longfellow version because they confessedly had a share in it, yet this reason does not quite satisfy. Nothing has been more noticeable in the popular reception of the completed work than the general preference of unsophisticated readers for those earlier translations thus heartily praised by Lowell. There has been a general complaint that the later work does not possess for the English-speaking reader the charm exerted by the original over all who can read Italian, while those earlier and fragmentary specimens had certainly possessed something of that charm. Those favorite versions, it must be remembered, were not the result of any cooperated labor, having been written by Professor Longfellow in an interleaved copy of Dante which he used in the class room. They were three in number, all from the Purgatorio and entitled by him respectively, The Celestial Pilot, The Terrestrial Paradise, and Beatrice. They were first published in Voices of the Nig
English (search for this): chapter 21
o which it may justly be replied that the word hemisphere, if applied only to the earth, equally omits the sky, and the two defects balance each other. Tinged with rose is undoubtedly a briefer expression for the untranslatable rosata than stained with roseate hues would be. The last line of the three finds an identical rendering in the two versions, and while bel sereno is more literally rendered by fair serene than by light serene, yet the earlier phrase has the advantage of being better English, serene being there used as an adjective only, whereas in the later translation it is used as a noun, a practice generally regarded as obsolete in the dictionaries. Even where the word is thus employed, they tell us, it does not describe the morning light, but indicates, like the French word serein, an evening dampness; as where Daniel says, The fogs and the serene offend us. Summing up the comparison, so far as this one example goes, it would seem that the revised version of Longfellow h
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