Under each of these general laws of translation, are comprehended a variety of subordinate precepts, which I shall notice in their order, and which, as well as the general laws, I shall endeavour to prove, and to illustrate by examples.
CHAPTER II
FIRST GENERAL RULE—A TRANSLATION SHOULD GIVE A COMPLETE TRANSCRIPT OF THE IDEAS OF THE ORIGINAL WORK—KNOWLEDGE OF THE LANGUAGE OF THE ORIGINAL, AND ACQUAINTANCE WITH THE SUBJECT—EXAMPLES OF IMPERFECT TRANSFUSION OF THE SENSE OF THE ORIGINAL—WHAT OUGHT TO BE THE CONDUCT OF A TRANSLATOR WHERE THE SENSE IS AMBIGUOUS
In order that a translator may be enabled to give a complete transcript of the ideas of the original work, it is indispensably necessary, that he should have a perfect knowledge of the language of the original, and a competent acquaintance with the subject of which it treats. If he is deficient in either of these requisites, he can never be certain of thoroughly comprehending the sense of his author. M. Folard is allowed to have been a great master of the art of war. He undertook to translate Polybius, and to give a commentary illustrating the ancient Tactic, and the practice of the Greeks and Romans in the attack and defence of fortified places. In this commentary, he endeavours to shew, from the words of his author, and of other ancient writers, that the Greek and Roman engineers knew and practised almost every operation known to the moderns; and that, in particular, the mode of approach by parallels and trenches, was perfectly familiar to them, and in continual use. Unfortunately M. Folard had but a very slender knowledge of the Greek language, and was obliged to study his author through the medium of a translation, executed by a Benedictine monk,[7] who was entirely ignorant of the art of war. M. Guischardt, a great military genius, and a thorough master of the Greek language, has shewn, that the work of Folard contains many capital misrepresentations of the sense of his author, in his account of the most important battles and sieges, and has demonstrated, that the complicated system formed by this writer of the ancient art of war, has no support from any of the ancient authors fairly interpreted.[8]
The extreme difficulty of translating from the works of the ancients, is most discernible to those who are best acquainted with the ancient languages. It is but a small part of the genius and powers of a language which is to be learnt from dictionaries and grammars. There are innumerable niceties, not only of construction and of idiom, but even in the signification of words, which are discovered only by much reading, and critical attention.
A very learned author, and acute critic,[9] has, in treating “of the causes of the differences in languages,” remarked, that a principal difficulty in the art of translating arises from this circumstance, “that there are certain words in every language which but imperfectly correspond to any of the words of other languages.” Of this kind, he observes, are most of the terms relating to morals, to the passions, to matters of sentiment, or to the objects of the reflex and internal senses. Thus the Greek words αρετη, σωφροσυνη, ελεος, have not their sense precisely and perfectly conveyed by the Latin words virtus, temperantia, misericordia, and still less by the English words, virtue, temperance, mercy. The Latin word virtus is frequently synonymous to valour, a sense which it never bears in English. Temperantia, in Latin, implies moderation in every desire, and is defined by Cicero, Moderatio cupiditatum rationi obediens.[10] The English word temperance, in its ordinary use, is limited to moderation in eating and drinking.
Observe
The rule of not too much, by Temperance taught,
In what thou eat’st and drink’st.