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literature. In 1805. he published the “Inferno' of Dante in blank. verse, and an entire translation of the · Divina Commedia,' in the same measure, in 1814. He afterwards translated the Birds' of Aristophanes, and the ‘Odes’ of Pindar, and wrote short memoirs in continuation of Johnson's 'Lives of the Poets, which, with lives of the early French poets, appeared anonymously in the ‘London Magazine.' For some years Mr. Cary held the office of assistant-librarian in the British Museum, and enjoyed a pension of £200 per annum. A Memoir of this amiable scholar was written by his son, the Rev. H. Cary, and published in 1847. First brought into notice by the prompt and strenuous exertions of Coleridge, Mr. Cary's version of the Florentine poet passed through four editions during the life of the translator. We subjoin a specimen.
Francesca of Rimini. In the second circle of hell, Dante, in his vision,' witnesses the punishment of carnal sinners, who are tossed about ceaselessly in the dark air by furious winds. Amongst these he meets with Francesca of Rimini, who, with her lover Paolo, was put to death. The father of the unfortunate lady was the friend and protector of Dante,
I began : “Bard! willingly
O wearied spirits ! come and hold discourse
O gracious creature, and benign! who goest
Love, that in gentle heart is quickly learnt,
1 The place to which murderers are doomed.
And held them there so long, that the bard cried :
Then turning, I to them my speech addressed,
Ugolini and his Sons in the Tower of Famine. During the contests between the Guelph and the Ghibellines, in 1289, Count Ugolini with two of his sons and two grandsons, were confined by Archbishop Ruggieri in a tower; the tower was locked, and the key thrown into the Arno, and all food was withheld from them. In a few days, they died of hunger. Dante describes the future punishment of Ugolini and the cardinal as being peut in one hollow of the ice.' The awful deaths in the tower are thus related by the ghost of the count.
A small grate
1 One of the knights of the Round Table, and the lover of Ginevra, or Guinever, cel. ebrated in romance.
2 A fine representation of this scene in marble formed part of the Manchester Exhibi. tion of 1857. It was from the collection of the Right Hon. W. E. Gladstone, and was ex. ecuted by Mr. A. Munro, sculptor. a young artist cut off prematurely by death in 1871.
Before the dawn, amid their sleep I heard
The mastery of grief. A select descriptive passage of Dante, imitated by Gray (first line in the ` Elegy),' and by Byron ('Don Juan,' canto iii. 108), is thus rendered by Cary:
Now was the hour that wakens fond desire
WILLIAM STEWART ROSE. WILLIAM STEWART ROSE (1775–1843), the translator of Ariosto, and a man of fine talent and accomplishments, was the second son of Mr. George Rose, Treasurer of the Navy, &c. After his education at Eton and Cambridge, Mr. Rose was introduced to public life, and he obtained the appointment of reading-clerk to the IĪouse of Lords. Ilis tastes, however, were wholly literary. To gratify his father, he began ‘A Naval Ilistory of the Late War,' vol. i., 1802, which he never completed. His subsequent works were a translation of the romance of · Amadis de Gaul,' 1803; a translation, in verse from the French of Le Grand, of 'Partenopex de Blois,' 1807: · Letters to Henry Hallam, Esq., from the North of Italy,' 2 vols., 1819; and a translation of the " Animali Parlanti’of Casti, 1819, to which he prefixed introductory addresses at each canto to his friends Ugo Foscolo, Frere, Walter Scott, &c. In 1823, he published a condensed translation of Boiardo's Orlando Innamorato,' and also commenced his version of the ‘Orlando Fuiroso,' which was completed in 1831. The ·latter is the happiest of Mr. Rose's translations ; it has wonderful spirit, as well as remarkable fidelity, both in form and meaning, to the original. The translator dedicated his work in a graceful sonnet to Sir Walter Scott, 'who,' he says, “persuaded me to resume the work, which had been thrown aside, on the ground that such labour was its own reward :'
Scott, for whom Fame a gorgeous garland weaves,
Who what was scattered to the wasting wind,
As grain too coarse to gather or to bind,
Transplanted from a softer clime, and pined
The doubtful ear, though scant the crop and bare
Where the glad harvest springs behind the share-
Was sweet, however paid the peasant's care. Besides his translations, Mr. Rose was author of a volume of poems, entitled 'The Crusade of St. Louis,' &c., 1810; and ‘Rhymes,' a small volume of epistles to his friends; tales, sonnets, &c. He was also an occasional contributor to the Edinburgh' and Quarterly Reviews.' Ill-health latterly compelled Mr. Rose to withdraw in a great measure from society; but in every event and situation of life,' says his biographer, Mr. Townsend, : whether of sorrow or sickness, joy or pleasure, the thoughtful politeness of a perfect gentleman never forsook him.'* And thus he became the best translator of Ariosto, one of whose merits was that even in jesting he never forgot that he was a gentleman, while in his most extraordinary narratives and adventures there are simple and natural touches of feeling and expression that command sympathy. The ottava rima stanza of Ariosto was followed by Rose. - Hook in his translation adopted the heroic couplet with marvellous success. As a specimen, we give two stanzas:
Let him make haste his feet to disengage,
Nor lime his wings, whom Love has made a prize ;
By universal suffrage of the wise:
And albeit some may shew themselves more sage
Than Roland, they but sin in other guise.
All issue, though they lead a different way.
Who enters its recesses go astray ;
In sum, to you, I, for conclusion, say,
One of our earliest translators from the German was WILLIAM TAYLOR of Norwich (1765-1836). In 1796 appeared his version of Burger's 'Lenore.' Before the publication of this piece, Mrs. Barbauld-who had been the preceptress of Taylor-read it to a party in Edinburgh at which Walter Scott was present. The impression made upon Scott was such that he was induced to attempt a version himself, and though inferior in some respects to that of Taylor, Scott's translation gave promise of poetical power and imagination. Mr. Taylor afterwards made various translations from the German, which he collected and published in 1830 under the title of 'A Survey of German Poetry.' 'Mr. Taylor,' says a critic in the 'Quarterly Review (1843), “must be acknowledged to have been the first who effectually introduced the modern poetry and drama of Germany to the English reader, and his version of the ‘Nathan' of Lessing, the 'Iphigenia' of Goethe, and Schiller's ‘Bride of Messina, are not likely to be supplanted, though none of them are productions of the same order with Coleridge's Wallenstein.' In 1843 an interesting Memoir of Taylor, containing his correspondence with Southey, was published in two volumes, edited by J. W. Robberds, Norwich.
THE EARL OF ELLESMERE
In 1823 this nobleman (1800-1857) published a translation of Goethe's “Faust' and Schiller’s ‘Song of the Bell.' This volume was followed in 1824 by another, Translations from the German, and Original Poems.' În 1830 he translated Hernani, or the Honcur of a Castilian,' a tragedy from the French of Victor Hugo. To the close of his life, this accomplished nobleman continued to adapt popular foreign works—as Pindemonte's ‘Donna Charitea, Michael Beer's “ Paria, the 'Henri Trois' of Dumas, &c. He translated and re-arranged Schimmer's ‘Siege of Vienna,' and edited the History of Pcter the Cruel, King of Castile and Leon' (two vols., 1851). In 1039 he undertook a voyage to the Mediterranean in his yacht, and on his retura home printed for private circulation ‘The Pilgrimage, Mediterranean Sketches,' &c., which were afterwards publish-) with illustrations. A dramatic piece, ‘Bluebeard,' acted with suc