xii   PREFACE

PREFACE   xiii

of Taste the educated but unlearned public must be the only rightful judge."

Again, critics have been hesitant in defining the all-important term "faithfulness." To one writer fidelity may imply a reproduction of his original as nearly as possible word for word and line for line; to another it may mean an attempt to carry over into English the spirit of the original, at the sacrifice, where necessary, not only of the exact words but of the exact substance of his source. The one extreme is likely to result in an awkward, more or less unintelligible version; the other, as illustrated, for example, by Pope's Homer, may give us a work so modified by the personality of the translator or by the prevailing taste of his time as to be almost a new creation. But while it is easy to point out the defects of the two methods, few critics have had the courage to give fair consideration to both possibilities; to treat the two aims, not as mutually exclusive, but as complementary; to realize that the spirit and the letter may be not two but one. In the sixteenth century Sir Thomas North translated from the French Amyot's wise observation: "The office of a fit translator consisteth not only in the faithful expressing of his author's meaning, but also in a certain resembling and shadowing forth of the form of his style and manner of his speaking"; but few English critics, in the period \under our consideration, grasped thus firmly the essential connection between thought and style and the consequent responsibility of the translator.

Yet it is those critics who have faced all the difficulties boldly, and who have urged upon the translator both due regard for the original and due regard for English literary standards who have made the most valuable contributions to theory. It is much easier to set the standard of translation low, to settle matters as does Mr. Chesterton in his casual disposition of Fitzgerald's Omar: "It is quite clear

that Fitzgerald's w is much too good to be a good translation." We can, it is true, point to few realizations of the ideal theory, but in approaching a literature which possesses the English Bible, that marvelous union of faithfulness to source with faithfulness to the genius of the English language, we can scarcely view the problem of translation thus hopelessly.

The most stimulating and suggestive criticism, indeed, has come from men who have seen in the very difficulty of the situation opportunities for achievement. While the more cautious grammarian has ever been doubtful of the quality of the translator's English, fearful of the introduction of foreign words, foreign idioms, to the men who have cared most about the destinies of the vernacular, men like Caxton, More, or Dryden, — translation has appeared not an enemy to the mother tongue, but a means of enlarging and clarifying it. In the time of Elizabeth the translator often directed his appeal more especially to those who loved their country's language and wished to see it become a more adequate medium of expression. That he should, then, look upon translation as a promising experiment, rather than a doubtful compromise, is an essential characteristic of the -lod critic:

The necessity for open-mindedness, indeed, in some degree 3counts for the tentative quality in so much of the theory f translation. Translation fills too large a place, is too losely connected with the whole course of literary develop-tent, to be disposed of easily. As each succeeding period as revealed new fashions in literature, new avenues of pproach to the reader, there have been new translations nd the theorist has had to reverse or revise the opinions >equeathed to him from a previous period. The theory if translation cannot be reduced to a rule of thumb; it must gain and again be modified to include new facts. Thus -egarded it becomes a vital part of our literary history, and