In
poetical
elegance I presume
not to enter into competition with him.
not to enter into competition with him.
Camoes - Lusiades
Mickle obtained afterwards the appointment of corrector of the
Clarendon Press in Oxford, and died at Wheatly, in Oxfordshire, in 1789.
Southey speaks of Mickle (_Quarterly Review_, liii. p. 29) as a man of
genius who had ventured upon the chance of living by his literary
labours, and says that he "did not over-rate the powers which he was
conscious of possessing, knew that he could rely upon himself for their
due exertion, and had sufficient worldly prudence to look out for a
subject which was likely to obtain notice and patronage. " His other
poems, Pollio, Sir Martyn, etc. , with the exception of his Cumnor Hall,
are not held in high estimation.
Describing the several poetic versions of the Lusiad, Mr. Musgrave
says,[5] of Fanshaw's version, that "its language is antiquated, and in
many instances it travesties the original, and seldom long sustains the
tone of epic gravity suited to the poem. It is, however," says he, "more
faithful than the translation of Mickle, but it would be ungenerous," he
adds, "to dwell on the paraphrastic licences which abound in Mickle's
performance, and on its many interpolations and omissions. Mr. Mickle
thought, no doubt," says Musgrave, "that by this process he should
produce a poem which in its perusal might afford a higher gratification.
Nor am I prepared to say that by all readers this would be deemed a
miscalculation. Let it not be supposed, however, that I wish to detract
from the intrinsic merit of his translation. It is but an act of justice
to admit, that it contains many passages of exquisite beauty, and that
it is a performance which discovers much genius, a cultivated taste, and
a brilliant imagination. Many parts of the original are rendered with
great facility, elegance, and fidelity.
In poetical elegance I presume
not to enter into competition with him. "
For his own performance Musgrave claims the merit of greater fidelity to
the original; but in respect of harmony, in true poetic grace, and
sublimity of diction, his translation will bear no comparison with
Mickle's version; for even Southey, in the article before quoted, though
very hard upon his interpolations, admits that, "Mickle was a man of
genius . . . a man whom we admire and respect; whose memory is without a
spot, and whose name will live among the English poets. " (_Quarterly
Review_, liii. p. 29. )
It only remains for me to say, that in order to place the reader in a
position to judge of the merits of this sublime effort of genius, I have
distinguished Mickle's longer interpolations by printing them in Bk. i.
p. 24, in _Italics_, and in the first 300 lines of Bk. ix. by calling
the attention of the reader to the interpolation by means of a
foot-note. The notes are, in general, left as written by the translator,
except in some cases where it seemed advisable to curtail them. Original
notes are indicated by the abbreviation "_Ed.
Clarendon Press in Oxford, and died at Wheatly, in Oxfordshire, in 1789.
Southey speaks of Mickle (_Quarterly Review_, liii. p. 29) as a man of
genius who had ventured upon the chance of living by his literary
labours, and says that he "did not over-rate the powers which he was
conscious of possessing, knew that he could rely upon himself for their
due exertion, and had sufficient worldly prudence to look out for a
subject which was likely to obtain notice and patronage. " His other
poems, Pollio, Sir Martyn, etc. , with the exception of his Cumnor Hall,
are not held in high estimation.
Describing the several poetic versions of the Lusiad, Mr. Musgrave
says,[5] of Fanshaw's version, that "its language is antiquated, and in
many instances it travesties the original, and seldom long sustains the
tone of epic gravity suited to the poem. It is, however," says he, "more
faithful than the translation of Mickle, but it would be ungenerous," he
adds, "to dwell on the paraphrastic licences which abound in Mickle's
performance, and on its many interpolations and omissions. Mr. Mickle
thought, no doubt," says Musgrave, "that by this process he should
produce a poem which in its perusal might afford a higher gratification.
Nor am I prepared to say that by all readers this would be deemed a
miscalculation. Let it not be supposed, however, that I wish to detract
from the intrinsic merit of his translation. It is but an act of justice
to admit, that it contains many passages of exquisite beauty, and that
it is a performance which discovers much genius, a cultivated taste, and
a brilliant imagination. Many parts of the original are rendered with
great facility, elegance, and fidelity.
In poetical elegance I presume
not to enter into competition with him. "
For his own performance Musgrave claims the merit of greater fidelity to
the original; but in respect of harmony, in true poetic grace, and
sublimity of diction, his translation will bear no comparison with
Mickle's version; for even Southey, in the article before quoted, though
very hard upon his interpolations, admits that, "Mickle was a man of
genius . . . a man whom we admire and respect; whose memory is without a
spot, and whose name will live among the English poets. " (_Quarterly
Review_, liii. p. 29. )
It only remains for me to say, that in order to place the reader in a
position to judge of the merits of this sublime effort of genius, I have
distinguished Mickle's longer interpolations by printing them in Bk. i.
p. 24, in _Italics_, and in the first 300 lines of Bk. ix. by calling
the attention of the reader to the interpolation by means of a
foot-note. The notes are, in general, left as written by the translator,
except in some cases where it seemed advisable to curtail them. Original
notes are indicated by the abbreviation "_Ed.
