Chapter IX: Part III: Chaps. III., IV (7)

But if we were to take up all the interesting and instructive themes suggested by Mr. Motley's work, we should never come to an end. We must pass over the exciting events narrated in these last volumes; the victory of Nieuport, the siege of Ostend, the marvellous career of Maurice, the surprising exploits of Spinola. We have attempted not so much to describe Mr. Motley's book as to indulge in sundry reflections suggested by the perusal of it. But we cannot close without some remarks upon a great man, whose character Mr. Motley seems to have somewhat misconceived.

If Mr. Motley exhibits any serious fault, it is perhaps the natural tendency to TAKE SIDES in the events which he is describing, which sometimes operates as a drawback to complete and thoroughgoing criticism. With every intention to do justice to the Catholics, Mr. Motley still writes as a Protestant, viewing all questions from the Protestant side. He praises and condemns like a very fair-minded Huguenot, but still like a Huguenot. It is for this reason that he fails to interpret correctly the very complex character of Henry IV., regarding him as a sort of selfish renegade whom he cannot quite forgive for accepting the crown of France at the hands of the Pope. Now this very action of Henry, in the eye of an impartial criticism, must seem to be one of his chief claims to the admiration and gratitude of posterity. Henry was more than a mere Huguenot: he was a far-seeing statesman. He saw clearly what no ruler before him, save William the Silent, had even dimly discerned, that not Catholicism and not Protestantism, but absolute spiritual freedom was the true end to be aimed at by a righteous leader of opinion. It was as a Catholic sovereign that he could be most useful even to his Huguenot subjects; and he shaped his course accordingly. It was as an orthodox sovereign, holding his position by the general consent of Europe, that he could best subserve the interests of universal toleration. This principle he embodied in his admirable edict of Nantes. What a Huguenot prince might have done, may be seen from the shameful way in which the French Calvinists abused the favour which Henry--and Richelieu afterwards--accorded to them. Remembering how Calvin himself "dragooned" Geneva, let us be thankful for the fortune which, in one of the most critical periods of history, raised to the highest position in Christendom a man who was something more than a sectarian.

With this brief criticism, we must regretfully take leave of Mr. Motley's work. Much more remains to be said about a historical treatise which is, on the whole, the most valuable and important one yet produced by an American; but we have already exceeded our limits. We trust that our author will be as successful in the future as he has been in the past; and that we shall soon have an opportunity of welcoming the first instalment of his "History of the Thirty Years' War."

March, 1868.

XI. LONGFELLOW'S DANTE. [33]

[33] The Divine Comedy of Dante Alighieri. Translated by Henry Wadsworth Longfellow. 3 vols. Boston: Ticknor & Fields, 1867.

THE task of a translator is a thankless one at best. Be he never so skilful and accurate, be he never so amply endowed with the divine qualifications of the poet, it is still questionable if he can ever succeed in saying satisfactorily with new words that which has once been inimitably said--said for all time--with the old words. "Psychologically, there is perhaps nothing more complex than an elaborate poem. The sources of its effect upon our minds may be likened to a system of forces which is in the highest degree unstable; and the slightest displacement of phrases, by disturbing the delicate rhythmical equilibrium of the whole, must inevitably awaken a jarring sensation." Matthew Arnold has given us an excellent series of lectures upon translating Homer, in which he doubtless succeeds in showing that some methods of translation are preferable to others, but in which he proves nothing so forcibly as that the simplicity and grace, the rapidity, dignity, and fire, of Homer are quite incommunicable, save by the very words in which they first found expression. And what is thus said of Homer will apply to Dante with perhaps even greater force. With nearly all of Homer's grandeur and rapidity, though not with nearly all his simplicity, the poem of Dante manifests a peculiar intensity of subjective feeling which was foreign to the age of Homer, as indeed to all pre-Christian antiquity. But concerning this we need not dilate, as it has often been duly remarked upon, and notably by Carlyle, in his "Lectures on Hero-Worship." Who that has once heard the wail of unutterable despair sounding in the line

"Ahi, dura terra, perche non t' apristi?"

can rest satisfied with the interpretation

"Ah, obdurate earth, wherefore didst thou not open?"

yet this rendering is literally exact.

A second obstacle, hardly less formidable, hardly less fatal to a satisfactory translation, is presented by the highly complicated system of triple rhyme upon which Dante's poem is constructed. This, which must ever be a stumbling-block to the translator, seems rarely to interfere with the free and graceful movement of the original work. The mighty thought of the master felt no impediment from the elaborate artistic panoply which must needs obstruct and harass the interpretation of the disciple. Dante's terza rima is a bow of Odysseus which weaker mortals cannot bend with any amount of tugging, and which Mr. Longfellow has judiciously refrained from trying to bend. Yet no one can fail to remark the prodigious loss entailed by this necessary sacrifice of one of the most striking characteristics of the original poem. Let any one who has duly reflected upon the strange and subtle effect produced on him by the peculiar rhyme of Tennyson's "In Memoriam," endeavour to realize the very different effect which would be produced if the verses were to be alternated or coupled in successive pairs, or if rhyme were to be abandoned for blank verse. The exquisite melody of the poem would be silenced. The rhyme-system of the "Divine Comedy" refuses equally to be tampered with or ignored. Its effect upon the ear and the mind is quite as remarkable as that of the rhyme-system of "In Memoriam"; and the impossibility of reproducing it is one good reason why Dante must always suffer even more from translation than most poets.

Something, too, must be said of the difficulties inevitably arising from the diverse structure and genius of the Italian and English languages. None will deny that many of them are insurmountable. Take the third line of the first canto,--

"Che la diritta via era smarrita,"

which Mr. Longfellow translates

"For the straightforward pathway had been lost."

Perhaps there is no better word than "lost" by which to translate smarrita in this place; yet the two words are far from equivalent in force. About the word smarrita there is thrown a wide penumbra of meaning which does not belong to the word lost. [35] By its diffuse connotations the word smarrita calls up in our minds an adequate picture of the bewilderment and perplexity of one who is lost in a trackless forest. The high-road with out, beaten hard by incessant overpassing of men and beasts and wheeled vehicles, gradually becomes metamorphosed into the shady lane, where grass sprouts up rankly between the ruts, where bushes encroach upon the roadside, where fallen trunks now and then intercept the traveller; and this in turn is lost in crooked by-ways, amid brambles and underbrush and tangled vines, growing fantastically athwart the path, shooting up on all sides of the bewildered wanderer, and rendering advance and retreat alike hopeless. No one who in childhood has wandered alone in the woods can help feeling all this suggested by the word smarrita in this passage. How bald in comparison is the word lost, which might equally be applied to a pathway, a reputation, and a pocket-book! [36] The English is no doubt the most copious and variously expressive of all living languages, yet I doubt if it can furnish any word capable by itself of calling up the complex images here suggested by smarrita. [37] And this is but one example, out of many that might be cited, in which the lack of exact parallelism between the two languages employed causes every translation to suffer.

[35] See Diez, Romance Dictionary, s. v. "Marrir."

[36] On literally retranslating lost into Italian, we should get the quite different word perduta.

[37] The more flexible method of Dr. Parsons leads to a more satisfactory but still inadequate result:--

"Half-way on our life's Journey, in a wood,
From the right path I found myself astray."

All these, however, are difficulties which lie in the nature of things,--difficulties for which the translator is not responsible; of which he must try to make the best that can be made, but which he can never expect wholly to surmount. We have now to inquire whether there are not other difficulties, avoidable by one method of translation, though not by another; and in criticizing Mr. Longfellow, we have chiefly to ask whether he has chosen the best method of translation,--that which most surely and readily awakens in the reader's mind the ideas and feelings awakened by the original.

The translator of a poem may proceed upon either of two distinct principles. In the first case, he may render the text of his original into English, line for line and word for word, preserving as far as possible its exact verbal sequences, and translating each individual word into an English word as nearly as possible equivalent in its etymological force. In the second case, disregarding mere syntactic and etymologic equivalence, his aim will be to reproduce the inner meaning and power of the original, so far as the constitutional difference of the two languages will permit him.

It is the first of these methods that Mr. Longfellow has followed in his translation of Dante. Fidelity to the text of the original has been his guiding principle; and every one must admit that, in carrying out that principle, he has achieved a degree of success alike delightful and surprising. The method of literal translation is not likely to receive any more splendid illustration. It is indeed put to the test in such a way that the shortcomings now to be noticed bear not upon Mr. Longfellow's own style of work so much as upon the method itself with which they are necessarily implicated. These defects are, first, the too frequent use of syntactic inversion, and secondly, the too manifest preference extended to words of Romanic over words of Saxon origin.

To illustrate the first point, let me give a few examples. In Canto I. we have:--

"So bitter is it, death is little more;
But of the good to treat which there I found,
Speak will I of the other things I saw there";

which is thus rendered by Mr. Cary,--

"Which to remember only, my dismay
Renews, in bitterness not far from death.
Yet to discourse of what there good befell,
All else will I relate discovered there";

and by Dr. Parsons,--

"Its very thought is almost death to me;
Yet, having found some good there, I will tell
Of other things which there I chanced to see." [38]

[38] "Tanto e amara, che poco e piu morte:
Ma per trattar del teen ch' i' vi trovai,
Diro dell' altre Bose, ch' io v' ho scorte."

Inferno, I. 7-10.

Again in Canto X. we find:--

"Their cemetery have upon this side
With Epicurus all his followers,
Who with the body mortal make the soul";--

an inversion which is perhaps not more unidiomatic than Mr. Cary's,--

"The cemetery on this part obtain
With Epicurus all his followers,
Who with the body make the spirit die";

but which is advantageously avoided by Mr. Wright,--

"Here Epicurus hath his fiery tomb,
And with him all his followers, who maintain
That soul and body share one common doom";

and is still better rendered by Dr. Parsons,--

"Here in their cemetery on this side,
With his whole sect, is Epicurus pent,
Who thought the spirit with its body died." [39]

[39] "Suo cimitero da questa parte hanno
Con Epieuro tutti i suoi seguaci,
Che l'anima col corpo morta fanno."
Inferno, X. 13-15.

And here my eyes, reverting to the end of Canto IX.,

fall upon a similar contrast between Mr. Longfellow's lines,--

"For flames between the sepulchres were scattered,
By which they so intensely heated were,
That iron more so asks not any art,"--

and those of Dr. Parsons,--

"For here mid sepulchres were sprinkled fires,
Wherewith the enkindled tombs all-burning gleamed;
Metal more fiercely hot no art requires." [40]

[40] "Che tra gli avelli flamme erano sparte,
Per le quali eran si del tutto accesi,
Che ferro piu non chiede verun' arte."
Inferno, IX. 118-120.

Does it not seem that in all these cases Mr. Longfellow, and to a slightly less extent Mr. Cary, by their strict adherence to the letter, transgress the ordinary rules of English construction; and that Dr. Parsons, by his comparative freedom of movement, produces better poetry as well as better English? In the last example especially, Mr. Longfellow's inversions are so violent that to a reader ignorant of the original Italian, his sentence might be hardly intelligible. In Italian such inversions are permissible; in English they are not; and Mr. Longfellow, by transplanting them into English, sacrifices the spirit to the letter, and creates an obscurity in the translation where all is lucidity in the original. Does not this show that the theory of absolute literality, in the case of two languages so widely different as English and Italian, is not the true one?

Secondly, Mr. Longfellow's theory of translation leads him in most cases to choose words of Romanic origin in preference to those of Saxon descent, and in many cases to choose an unfamiliar instead of a familiar Romanic word, because the former happens to be etymologically identical with the word in the original. Let me cite as an example the opening of