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BOOK OF VERSIONS,

&c.

Words marked with an asterisk (*) are to be omitted in the Translation.

SECTION 1.

ON THE FRENCH LANGUAGE.

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Perspicuity, order, accuracy, and purity of expressione, distinguish the French language, and give it a graced which pleases alle nations; its order in the expression of thoughts makes it easy, its accuracy banishes all overstrained metaphorss, and it forbids all useh of coarse terms.

The French language, having noi declensions, and being always subjected to itsk articles, cannot adopt the Greek and Latin inversions'; it obliges words to take their placem inn the natural order of ideas. Its auxiliary verbs, its pronouns, its articles, its wanto of declinable participles, and its regular formation, are not favourable to the highest degrees of poetical enthusiasm. It has less resources

a La clarté,—b la justesse ;-c des termes ;—d lui donnent un agrément;- plaît à toutes ;— la rend ;-8 en bannit toutes les métaphores outrées ;-h et cette langue interdit tout usage ;-i n'ayant point de ;–k asservi aux;~ inversions Grecques et Latines ;-m à se ranger;- dans;- son manque ;

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of this kindp than the Italian and English, but it is peculiarly well adapted for tragedy and comedy, politer conversation, and a simple and elegant style. The natural order according to which thoughts must be expressed and sentences constructed in that language, gives it a softness and facility which is extremely pleasant ;u and the genius of the nation, combined with the genius of the language, has given birth to the great number of works agreeably written which adorn French literature. P en ce genre ;-9 mais elle est très-propre à ;--r délicate ;-s dans lequel on est obligé d'exprimer ses pensées ;-t et de construire ses phrases ;-agréable ;-X se mélant au ;-Y a produit ce ;i la littérature Française.

BOILEAU DESPREAUX, A* member of the French Academy, and one of the most famous poets of the age of Louis XIV.; he isc the Juvenal of the French, and far superior to the Roman writer in his satires, in point ofd delicacy and chasteness of style. His productions gained hime great reputation, particularly his . Art of Poetry*,' his · Epistles,' and his · Lutrin:' nos French poet has been so correcth in his style, and few equal himi in strength and harmony. He has written some • Odes,' but they are inferior to those. of J. B. Rousseau. Itk has been* said of him, that his verses will be read even when the language is obsolete', and will be the last ruins of it. Dr, Warton mentionsm Boileau's “ Art of Poetry,' as the best composition" of that kind extanto. • l'un ;-b siècle ; c'est;—d à l'égard de la ;-e lui firent une;

- Poétique ;-8 aucun ;-h pur;-i l'ont égalé ;-k On ;-laura vieilli :- i fait mention de ;=u comme du meilleur ouvrage ;qui existe ce genre.

PARALLEL BETWEENP ELIZABETH QUEEN OF ENG

LAND, AND MARIA THERESA, OF AUSTRIA.

These9 sovereigns afford a brilliant parallel for history. Both, gracings their sex, their country, and their throne, have given lessons of genius to kings; and what is more rare still, they have devotedt genius to the happiness of nations. Both, taught" by misfortune, have learnt, in the painful struggle of* adversity, to strengthen their character, to extend the resources of their mindsy, to submit to events, and to exhibit? an heroism of circumstances as well asa of principles. The genius of Elizabeth was of a more creative natureb, and bolder; she laid the foundation of° the ambitious designs of England. Maria Theresa, less venturousd, directed her views rather to preserve than to create. The formere curbed a restless and prouds nation" by directingi its activity towards grand objects, and gave it a new appendagek—the sea; a new cor

country' -bothm worlds. The lattern rousingo a quiet people, inspired them with a desire of another kind! of conquest, more congenialt to their manners,that of their native lands, through labour and industry. Both have enjoyed almost absolute powert. The one, by her successes, obligedu the proud Briton to forgive her the despotism of her will; the other, by her moderation and mildness, tempered hereditary despotism, which she only enforced to bey benevolent without contradiction, P De ;—9 Ces deux ;-~r offrent.—s Toutes les deux honorant ;t consacré ;—u instruites ;-* lutte pénible contre ;—y ame;-z à se soumettre aux évènemens, et à se faire ;—a autant que ;b plus créateur ;-c elle a préparé ;—d entreprenante.-e La première ;-réprima ;-& impatient et fier ;-h peuple ;- en dirigeant ;-k apanage ;- patrie ;-m les deux. La seconde ; -o excitant ;—p lui inspira le goût ;-9 genre ;-r conforme ;

propre paus, joui d'un pouvoir presqu' absolu ;-u força --x de lui pardonner ;-y dont elle ne fit usage que pour être.

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CORNEILLE.

He wasz the first dramatic author of eminencea among the French: he joins to many defects, beauties of the first order; he did not possess the pure and delicate taste of Racine; he was inferior to the latterb in painting the softerc passions, but he possessesd more fire and more majesty; the flights of his imagination are sublime; the heroes whose pictures he delineates', are truly great; and his masterpiece, the · Cid, will ever remain on thes French stage a fine monument of his genius. z Ce fut ;-a célèbre; à celui-ci;c les tendres ;—d a;—e élans; - dont il nous a tracé le tableau ;-& restera toujours au.

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THE INDIAN CHIEF. Plutarch", in the Lives of Illustrious Men,' does not recordk a nobler answer than that which was returned by a Canadian chief to Europeans, who wished to induce him to give up his patrimony. “ We were born,” said he,

upon this spotm; our fathers are buried here"; shall we say to the bones© of our fathers, rise up! and go with us to aP strange land?”— VOLTAIRE. h Plutarque ;-i dans la Vie des ;--k ne cite pas ;— que fit ;m dans ce lieu ;y;- ossemens ;-p dans une.

CREBILLON.

ALTHOUGH inferior to his great dramatic rivals, Corneille, Racine, and Voltaire, he opened a new path'; in which he succeeded well*. Corneille had astonished the mind by the sublimity of his thoughts; Racine had moved the heart, and Crebillion struck it withr terror. Voltaire has been 4 il se fraya une nouvelle carrière ;-r le frappa de ;

unjust and too severe towards hims. When Crebillon was received at the French academy, theyt applauded, in his discourse for this occasion", the truth of the following liney :

Aucun fiel n'a jamais empoisonné ma plume. What a* contrast between his conduct, and that of his critic! • à son égard ; on ;- cette occasion ;-* à la vérité ;y vers ;-Z entre.

PARALLEL BETWEEN BOSSUET, AND BOURDALOUE.

Bossuet was bornb with much more genius than Bourdaloue; however, the sermons of the latterc are better written, better finished, and more methodical; which ought not to surprise usd, since they were the only object of his literary laboursf. If weg compare one sermon with anotherh, Bourdaloue will have the advantage; but, if we compare passages", he will lose greatly by the comparison". Bossuet is more luminous, original, and rapid": his style is elevated and strongo, his familiarity is noble, the soaringsp of his imagination are sublime, his scriptions9 loftyr and strikings, his transitions suddent, and yet always natural: he reveals profound truths, which are only found by diving deeply into Ouru own heart; the majesty of his thoughts, and his strength of expressions, are truly his owny. He frightens the sinner, and gives him up toremorse, to completea his conversion.—CARDINAL Maury.

DE;— naquit ;-c de celui-ci ;,d et il ne faut pas en être surpris ;—e puisqu'ils ont été ;– travaux ;-8 Si l'on ;—h sermon à sermon ;=k mais si l'on oppose trait à trait ;, 1 beaucoup ;mà ce parallèle ;n impétueux ;– ferme ;—p élans ;-9 ses tableaux ;-r majestueux ;- imposans ;-t brusques ;- qu'on ne découvre qu'en creusant profondément dans son ; et la vigueur de ses expressions ; lui sont propres ;- et le livre au; & pour achever.

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