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* For them no more the blazing hearth shall | What is the meaning of this ? Crossing the burn,
Rubicon ? But it is in stanzas like these exOr busy housewife ply her evening care ;
quisite ones that the failure is most complete Nor children run to lisp their sire's return,
and evident-Or climb his knees the envied kiss to share.' We might have expected these familiar For who to dumb Forgetfulness a prey,
This pleasing anxious being e'er resigned, and universal images to have fallen more Left the warm precincts of the cheerful day, easily into any language : Mr. Hildyard,
Nor cast one longing lingering look behind ? however, is so poor, that we shall not quote On some fond heart the parting soul relies, his version; in the other, though we miss Some pious drops the closing eye requires ; much, the last expression is very happy, and E'en from the tomb the voice of Nature cries, compensates in some degree for what neces E'en in our ashes live their wonted fires.' sarily escapes:
What word can be spared here, or changed • Illis haud iterum (we should prefer "amplius for another ?---what thought
either more haud illis") refovebitur igne caminus, strongly or more feebly given ; how can we Sponsave quod propriæ est sedula partis aget; expand or compress? Even if every thought Non balbo proles gratabitur ore parenti, and word were embalmed without change or Curret in amplexus, præripietve genas.'
decay in another language, the fine music of We turn to the well-known stanza, of the verse must escape ; a change in the place which the author of the Pursuits of Litera of any word would do violence to the effect ture' produced in such triumph Dr. Cook's of the whole. Let any one construe liteversion ; and though, as Greek, it may by rally the following fair verses, and find how no means bear the severity of modern criti. much the Latin reproduces, or even suggests
of the original--- how much is absolutely lost, cism, it is certainly fine and spirited.
or diluted, or perverted. A xuqıs įvyeréuv, xúqıs Bagindos agzas, Nam quis pervigilis, sic immemor usque priΔώρα τύχας, χρυσάς Αφροδίτας κάλα τα δώρα,
orum, Πάνθ' άμα ταύτα τέθνακε, και ήνθεν μόρσιμον
Delicias animæ deposuisse velit ?
Ecquis deseruit lætæ confinia lucis, Ηρώων κλε’ όλωλε, και ώχετο κοινον ες "Αδαν. Nec tulit ad superas ora reflexa plagas ?
Mr. Macaulay's copy is here singularly Sese anima in gremium fugitiva receptat amineat and ingenious; what we miss is the life of the original.
Ultima lachrymulam flagitat hora piam;
Vel de ferali clamat natura sepulchro, • Stemmata longa patrum, magnæque potentia
Vel calet effuso fax rediviva rogo.' famæ, Quicquid forma potest addere, quicquid opes,
The comic part of this volume we do Expectant pariter non evitabile tempus
not think equal to the serious; and it Scilicet ad tumulum ducit Honoris iter.' bears far too large a proportion to the
whole. We are absolutely overrun with Mr. Hildyard makes strange work of Gammer Gurton rhymes, we do not think Hampden, Milton, and Cromwell. We ques- in general very happily executed. The tion whether the Latin or the verse is the merit and the fun of such translations worst. The sense is entirely mistaken. It may be of two different kinds. It may is a curious illustration to what straits a man consist in rendering comic and modern is reduced who attempts what is beyond his thoughts into purely classical language, powers.
so that they should read like genuine bits
of old Latin or Greek verse. It is this * Forsitan, inter avos, Hampdeni hic ossa qui- quiet humour, this quaint contrast be
escent Qui sæva intrepidà fregerit acta (gy. Acts of tween the childish absurdity of the EngParliament?] manu —
lish verses and the very turns of lan. Qui sacer ante alios, Miltonus, tawvvj95, adsit, guage and expression of the Greek tragic Cromwellusve, vacans proditione ferâ !' drama, which constitutes the excellence
of Porson's "Three Children sliding on The translator in the Arundines' con- the Ice.' To the ear it sounds like a verts with more classical feeling, but with fragment of an old Greek drama-every the sacrifice of propriety, Hampden into word and idiomatic term is purely Attic Brutus, Milton into 'Ovid, Cromwell into -and yet every thought and image of Cæsar. The last line runs-
the nursery rhyme is represented with • Nec patriæ temerans fædera Cæsar aquæ.' perfect accuracy.
The other manner is broader and cer- before us, refined into inappropriate eletainly less legitimate in its humour. It gance, or so gravely transposed into correnders the most completely modern rect Latin as to leave neither point nor thoughts, usages or sentiments—the most jest. The translation of the 'Elegy on a remote from classical ideas-as best it Mad Dog'is cleverly done by Mr. Hodg. may, into Latin or Greek.
The ludi- son of Trinity College, and this in its crousness arises from the odd contrast quiet irony perhaps admits of being between the thoughts and the language- turned into pleasing elegiacs: still we the ingenuity with which the nearest miss the quaintness of the original ; we analogous term is substituted—the mas not compelled to smile at every tery over the language, which alone can fourth verse, as by honest Goldsmith. fully exhibit its pliancy and call forth all This form of composition is a favourite its resources. In this consists the drol with the editor. He has given us Billy lery of some of the better Westminster Tailor and Miss Bailey.
Now we proepilogues: we envy not the severe scho- test against a new version of the latter. lar who cannot laugh at the whimsical Glasse's inimitable doggrel is in possesincongruities which these spoken carica- sion of the field, and we assert his right tures often exhibit ; and the cleverness against all intruders. Tune and all is with which phrases, if not always of the preserved. purest Latinity, yet chosen with sufficient regard to the genius of the language, are Seduxit miles virginem, receptus in hibernis, found for things which it would have Præcipitem quæ laqueo se transtulit Avernis; puzzled a Roman to name or comprehend. Impransus ille restitit, sed acrius potabat,
Et conscius facinoris And these subjects of low humour test
Miseram Baliam, infortunatam Baliam, the knowledge which is most rare in the
Proditain, traditam, miserrimamque Baliam.' finished scholar, that of the more familiar and vernacular language of the ancients. Billy Tailor was, as far as we know, The more utterly incongruous, therefore, open ground; and Mr. Drury has suc. the original with classical thought, the ceeded much better: nor do we so much more apparently untranslateable – the object in this instance to the half-sentibetter, if the translator can succeed at mental turn of the Latin, which here per. all. The vulgar ballad, the childish ditty, haps aids rather than softens the absurdimay be an amusing trial of skill; but then ty. We do not, however, much like the it must remain vulgar and childish in the comparison with Penthesilea – it was translation-mock heroic, if the translator enough to turn Sukey into an Amazon. will-but never, like some of the versions • Billy Tailor was a brisk young fellow,
Fortis in apricæ Gulielmus flore juventæ Full of mirth and full of glee,
Oris erat lepidi lætitiæque satur ; And his heart he did discover
Celatamque diu flammam detexit amicæ, To a maiden fair and free.
Quæ pulchra atque animi liberioris erat. Four-and-twenty press-gang fellows,
Sex quater insiliunt Caci (?) crudeliter illum, Dressed they was in blue array,
Cæruleâ oceani veste notante gregem, Laid cruel hands on Billy Tailor,
Vique coegerunt celsam conscendere navim, Him they caught and sent to sea.
Proh scelus! et rigidis imposuere foris. But his true-love followed a'ier
Sed sua de cunctis longe fidissima nautis, By the name of Robert Carr;
Susanna est habitu pone secuta mari ; Her lily-white hands were daubed all over Candida in imberbi maculantur lilia vuliu, With the nasty pitch and tar.
Et manus in nigram vertitur alba picem.
And in the very first engagement
Illa, virûm ritu, furit in certamine primo, Manfully she fought among the rest,
Obsita sulphureis, nec tremefacta, globis, Till a bullet blew her jacket open,
Horrisonos ignes inter; dum, veste solutâ, And discovered her snow-white breast. Purior intacta est prodita mamma nive: Which, when the captain saw, "What squall, Quâ viså Ductor, “Quisnam huc te ventus ade
pray, Hath blown you hither, Ma'am ?”' says he ; Postulat: "Ereptum quærimus," illa, "pro“ Sir, I seeks my Billy Tailor,
cum, Whom you pressed and sent to sea." Quem tu prendisti fecistique ire per altum !"
“ Hunccine amas? eheu quam tibi læsus
" If you seeks your Billy Tailor,
Nam scito, infelix, inconstantem atque severum, Know he's inconstant and severe,
Pro quo tot tuleris semivir, esse virum.” (Poor Sukey's heart beat high and heavy, (Vix se continuit Susannæ pectus anhelum, And she dropped one very big tear.)
Lacrymaque ex oculis repperit una viam.) “Rise up early in the morning,
Surge age, et auroræ primo sub lumine flavæ, At rise of sun and break of day,
Desere pendentem, sole oriente, torum; And you 'll see your Billy Tailor
Quem sequeris, cantu et fidibus saltare videbis, Dancing with a lady gay."
Ad dominæ motus, candida et illa, suæ." Then she called for sword and pistol,
Continuo sibi tela furens letalia poscit; Which did come at her command,
Itur-et in digitis ignis et ensis erant ; And she shot poor Billy Tailor
Stravit et atroci plumbique et sulphuris ictu With his lady in his hand.
Prensantem, interitus quæ sibi causa, manu. Which when the captain came for to know it, Virtutis Dux magnanimæ non immemor illi
He very much applauded what she had done, Plausus, quos cuperet Penthesilea, dedit. And he made her first lieutenant
Nec mora : fulmineæ præfecit Amazona puppi, Of the gallant Thunder bomb.'
Ut Legatorum de grege prima foret.' We know not whether from the strong self; or simply, perhaps, from the more er contrast, which makes the incongruity happy execution, unquestionably the best, more amusing, the still greater apparent after Porson's, of the comic versions, are remoteness of English nursery nonsense two into iambics and Aristophanic trofrom Attic Greek, and the severer test to chaics-the former by Bishop Butlerwhich scholarship appears to expose it- the latter by the head master of Eton.
THE MAN OF THESSALY.
Εξ ου τυχόντων θίτταλος τις ήν ανήρ,
ός έργον επεχείρησε τλημονίστατον
ακανθοχηνοκοκκόβατον ειςήλατο, , And scratched out both his eyes.
δίσσας δ' ανεξώρυξεν οφθάλμων κορας. . And when he found his eyes were out,
ώς oύν τα πραχθέντ' έβλεπεν, τυφλός γεγώς, With all his might and main,
ου μην υπέπτηξ' ουδεν, αλλ' ευκαρδίως He jumped into another bush,
βατον τιν' άλλην ήλατ' εις ακανθίνην, And scratched them in again.'
και τούδ' εγένετ' εξαυθις εκ τυφλού βλέπων. The living scholar's trifle strikes us as that diner-out of celebrity, and faithful extremely clever: the quiet gravity of reporter of ancient small-talk. We have the supposed scrap from Athenæus reads the advantage of quoting Dr. Hawtrey like a genuine excerpt from that chroni- from a corrected copy in his privately cler of amusing nothings, as well as of printed • Trifoglio :'valuable anecdote and excellent poetry,
* Athenæi Fragmentum in palimpsesto bibliothecæ Ambrosianæ ab Angelo Maio inventum, antehac vero non editum. - περί δε των κοσσυφων, ως εκ κριβάνου τοϊς δείπνούσι παρατεθέντες απουσι, περί δέ ορνιθίων τινων, ώς των ταιριστών τας μίνας καταπτάμενα άρπαζει, των κωμικών τις δυτως γράφει:
–αλλά νύν υπάδετ', άνδρες, «ασμα του τετρωβολου”
· Sing a song of sixpence,
A pocket full of rye;
Baked in a pie :
The birds began to sing,
To set before the King ?
εν μυχώ δόμων και βασιλεύς τ' αργυρι’ ελογίζετο,
The King was in the parlour αναβάδην δ' έτρωγε χώρις πυρνόν άρτον και μέλι
Counting out his money, η βασιλίς: η παϊς δ' αν αυλήν βύσσιν' εξήρτα λίνου
The Queen was in the Kitchen, νηπία κάτω γάρ ήλθεν από τέγους ορνίθιον
Eating bread and honey; την τε ρίνα της ταλαίνης ώχετ' εν ρύγχει φερον.
The Maid was in the garden
Hanging out the clothes,
And carried off her nose.' We cannot quit the Trifoglio,' as we and from English into German—all exehave thus already trespassed on the pri- cuted, if we may venture to judge on all vacy of a volume printed only for limited these points, not merely with surprising distribution among the author's friends, accuracy of phrase, but with a graceful without expressing our admiration at the felicity in catching the turn and genius of singular versatility of talent, and com- each tongue. We have given a specimand of various languages, displayed in men of the accomplished author's com
It contains translations of mand of Greek: though perhaps out of short poems-with a few original pieces place, we will venture to gratify our Ger. in Greek, Italian, and German (we have a man and Italian readers with an instance Latin composition in the 'Arundines' by of his skill in each of these languages. Dr. Hawtrey, which our space allows us We hesitate between the Burial of Sir not to quote). The versions are from John Moore' and those perhaps less fa. French_and English into Greek-from miliar lines of Byron :Latin, English, and German into Italian
We select the Italian translation of fidelity of the translation, as well as the Horace's famous ode, as most appropriate spirit, appear to us remarkable, even to the present article : the closeness and though the languages are so nearly al.
* Pessimè, codd. refrag. Lege, meo periculo, " lit till Trifoglio ; ovvero Scherzi Metrici d'un' In. tle bird.” Bentley.
glese. Londra, 1839.' 8vo. pp. 92.
• Mentrera io sol piacevole, • Donec gratus eram tibi
Nè al collo tuo diletto
Stringea le braccia candide
Più vago giovinetto;
Sprezzai del re di Persią
Il fasto e le ricchezze,
L'amore e le dolcezze..
Quando per me sol fervido
Arse 'l tuo petto ognora,
Ne Cloe più di Lidia
Ti fu gradita ancora ;
Allor chi fu di Lidia
Illustre più, più chiara ?
Trovai la sorte amara.
Al suo talento or reggemi,
Cloe, di Tracia il vanto,
Col' tremolare armonico,
Del' arpa, e col suo canto.
Di lei felice e intrepido
Saprei morire allato,
Se perdonasse il fato.
Con flamma vicendevole
Or regna nel mio petto
Calaï, d' Ornito figlio,
Due volte e più con gioja
Saprei morirgli allato,
Se perdonasse il fato.
Ma-se l'antica Venere
Il regno suo ripiglia,
E a giogo ancor più rigido
I destrier sciolii imbriglia:
Se a Cloe la porta chiudesi,
Ne l'arpa ne 'l cantare
Sprezzata già l' entrare ?
Benchè del sol più
lucido Quamvis sidere pulchrior
Foss' egli e più fedele,
Tu lieve più di buccia,
Dell'Adria più crudele;
Teco vorrei ben vivere,
Di te morire allato;
Che insiem ci trovi il fato!
Under the guidance of a master gifted, old monkish hymns, with their barbarous with such varied accomplishments, and phrases and barbarous rhymes, appears to us of such cultivated tastes, our great pub- carrying the prevailing passion for mediæval lic school is neither likely to degenerate antiquity far beyond its proper bounds. from its ancient fame, as the nurse of fine No one can have more profound admiration classical attainments, and the genuine than ourselves for some of the ancient church love of ancient literature, nor to refuse hymns, the . Dies iræ,' or even the Stabat to admit the study of modern languages, Mater,' which embody the highest and most as far as they can be advantageously in- awful truths of our religion, or perhaps more troduced, into the general system of edu- questionable poetic sentiment, in brief lines cation.
of inimitable spirit and pregnancy. Two or To return, however, to the Arundines. three of these might stand alone, even withThe third part consists of religious pieces, out the association of the magnificent ecclesisome of which are very pleasingly executed—astical music to which they belong, and which in all we cannot but approve of the devotional is inseparable from them; and others, being and Christian spirit. But the imitation of the really ancient-part of a church service