"Teems with many a dead-born just."[20]
Nor had he the least idea of the dignity of the epic style,[21] or of[{xxxii}] the true spirit of poetical translation. For this, indeed, no definite rule can be given. The translator's feelings alone must direct him, for the spirit of poetry is sure to evaporate in literal translation.
Indeed, literal translation of poetry is a solecism. You may construe your author, indeed, but, if with some translators you boast that you have left your author to speak for himself, that you have neither added nor diminished, you have in reality grossly abused him, and deceived yourself. Your literal translation can have no claim to the original felicities of expression; the energy, elegance, and fire of the original poetry. It may bear, indeed, a resemblance; but such a one as a corpse in the sepulchre bears to the former man when he moved in the bloom and vigour of life.
Nec verbum verbo curabis reddere, fidus
Interpres,
was the taste of the Augustan age. None but a poet can translate a poet. The freedom which this precept gives, will, therefore, in a poet's hands, not only infuse the energy, elegance, and fire of his author's poetry into his own version, but will give it also the spirit of an original.
He who can construe may perform all that is claimed by the literal translator. He who attempts the manner of translation prescribed by Horace, ventures upon a task of genius. Yet, however daring the undertaking, and however he may have failed in it, the translator acknowledges, that in this spirit he has endeavoured to give the Lusiad in English. Even farther liberties, in one or two [{xxxiii}]instances, seemed to him advantageous—— But a minuteness[22] in the mention of these will not appear with a good grace in this edition of his work; and besides, the original is in the hands of the world.[{xxxiv}]
MICKLE'S INTRODUCTION TO
THE LUSIAD.
If a concatenation of events centred in one great action—events which gave birth to the present commercial system of the world—if these be of the first importance in the civil history of mankind, then the Lusiad, of all other poems, challenges the attention of the philosopher, the politician, and the gentleman.
In contradistinction to the Iliad and the Æneid, the Paradise Lost has been called the Epic Poem of Religion. In the same manner may the Lusiad be named the Epic Poem of Commerce. The happy completion of the most important designs of Henry, Duke of Viseo, prince of Portugal, to whom Europe owes both Gama and Columbus, both the eastern and the western worlds, constitutes the subject of this celebrated epic poem. But before we proceed to the historical introduction necessary to elucidate a poem founded on such an important period of history, some attention is due to the opinion of those theorists in political philosophy who lament that India was ever discovered, and who assert that increase of trade is only the parent of degeneracy, and the nurse of every vice.
Much, indeed, may be urged on this side of the question; but much, also, may be urged against every institution relative to man. Imperfection, if not necessary to humanity, is at least the certain attendant on everything human. Though some part of the traffic with many countries resemble Solomon's importation of apes and peacocks; though the superfluities of life, the baubles of the opulent, and even the luxuries which enervate the irresolute and administer disease, are introduced by the intercourse of navigation, yet the extent of the benefits which attend it are also to be considered[{xxxv}] before the man of cool reason will venture to pronounce that the world is injured, and rendered less virtuous and happy by the increase of commerce.