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| maundemonthlyreview [2023/03/10 14:24] – Espaces insécables : pour les pages Timothée Léchot | maundemonthlyreview [2023/03/13 19:18] (Version actuelle) – modification externe 127.0.0.1 |
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| ===== Présentation du texte ===== | ===== Présentation du texte ===== |
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| La [[monthlyreview|Monthly Review]], qui avait déjà proposé en 1800 une [[compterendumonthlyreview|analyse]] du texte original, rend compte assez favorablement de la [[maunderural|traduction anglaise]] de //L'Homme des champs// dans sa livraison de novembre 1801[("ART. II. //The Rural Philosopher; or, French Georgics. A Didactic Poem. Translated from the Original of the Abbé Delille; intitled L’Homme des Champs. By John Maunde//. Crown 8vo. 6s. Boards. Kearsley. 1801.", //The Monthly Review//, vol.\ 37, novembre 1801, p.(nbsp)236-241.)]. | La [[monthlyreview|Monthly Review]], qui avait déjà proposé en 1800 une [[compterendumonthlyreview|analyse]] du texte original, rend compte assez favorablement de la [[maunderural|traduction anglaise]] de //L'Homme des champs// dans sa livraison de novembre 1801[("ART. II. //The Rural Philosopher; or, French Georgics. A Didactic Poem. Translated from the Original of the Abbé Delille; intitled L’Homme des Champs. By John Maunde//. Crown 8vo. 6s. Boards. Kearsley. 1801.", //The Monthly Review//, vol.(nbsp)37, novembre 1801, p.(nbsp)236-241.)]. |
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| ===== Citations ===== | ===== Citations ===== |
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| The difficulty of translating poetry has always been acknowleged\ ; yet this concession has not rendered criticism less rigid. Mediocrity in an original writer is not more insupportable than in a translator\ ; and a feeble copy of a fine picture, or of a beautiful poem, is equally condemned. Nearly all our best translators and imitators have been great originals(nbsp): as, for instances, Dryden, Pope, and Rowe. When passages occur which the different idiom of the two languages makes it impossible to render closely, or even intelligibly, native genius is required to supply equivalents\ ; and, seizing the //spirit// of the passage, we should throw aside the //words//, and express the //idea// as a thought of our own. | The difficulty of translating poetry has always been acknowleged(nbsp); yet this concession has not rendered criticism less rigid. Mediocrity in an original writer is not more insupportable than in a translator(nbsp); and a feeble copy of a fine picture, or of a beautiful poem, is equally condemned. Nearly all our best translators and imitators have been great originals(nbsp): as, for instances, Dryden, Pope, and Rowe. When passages occur which the different idiom of the two languages makes it impossible to render closely, or even intelligibly, native genius is required to supply equivalents(nbsp); and, seizing the //spirit// of the passage, we should throw aside the //words//, and express the //idea// as a thought of our own. |
| \\ As many parts of the production before us have been either copied or imitated from our own poets, it is, difficult to transfuse them again into English, to the satisfaction of those who have often contemplated them in their pristine state\ ; and however well a translator may have performed his task, the same allowance should be made for evaporation, as in pouring liquors out of one vessel into another. Indulgence in such cases is claimed by Mr. Maunde, and, we think, with reason[(//Id//., p.(nbsp)236.)]. | \\ As many parts of the production before us have been either copied or imitated from our own poets, it is, difficult to transfuse them again into English, to the satisfaction of those who have often contemplated them in their pristine state(nbsp); and however well a translator may have performed his task, the same allowance should be made for evaporation, as in pouring liquors out of one vessel into another. Indulgence in such cases is claimed by Mr. Maunde, and, we think, with reason[(//Id//., p.(nbsp)236.)]. |
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| Cet enthousiasme tempéré fléchit quelque peu lors de l'examen du chant 3, dont le contenu aurait exigé le concours d'un **Lucrèce**\ ; mais le critique n'en conseille pas moins la lecture aux "jeunes naturalistes"(nbsp): | Cet enthousiasme tempéré fléchit quelque peu lors de l'examen du chant 3, dont le contenu aurait exigé le concours d'un **Lucrèce**(nbsp); mais le critique n'en conseille pas moins la lecture aux "jeunes naturalistes"(nbsp): |
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| \\ <tab>//"I love the man, that, noble in his views, | \\ <tab>//"I love the man, that, noble in his views, |
| \\ <tab>"The culture of his land and soul pursues."// | \\ <tab>"The culture of his land and soul pursues."// |
| \\ To cultivate the //soul// is not an usual expression(nbsp): but it appears that the translator was driven to this extremity by the word mind (//esprit//) being wanted, as a rhime, in the next line. […] The physiology of this IIId Canto was difficult to write, and is still more difficult to translate. The Deluge and its effects demanded a Lucretius to delineate them. The course of rivers, hurricanes, volcanoes, subterraneous cities, sea wonders and productions, and the whole range of natural history, are displayed in the poetry and the notes of this book\ ; which will be found both amusing and instructive by young naturalists[(//Id//., p.(nbsp)239-240.)]. | \\ To cultivate the //soul// is not an usual expression(nbsp): but it appears that the translator was driven to this extremity by the word mind (//esprit//) being wanted, as a rhime, in the next line. […] The physiology of this IIId Canto was difficult to write, and is still more difficult to translate. The Deluge and its effects demanded a Lucretius to delineate them. The course of rivers, hurricanes, volcanoes, subterraneous cities, sea wonders and productions, and the whole range of natural history, are displayed in the poetry and the notes of this book(nbsp); which will be found both amusing and instructive by young naturalists[(//Id//., p.(nbsp)239-240.)]. |
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