WHETHER IT IS ALLOWABLE FOR A TRANSLATOR TO ADD TO OR RETRENCH THE IDEAS OF THE ORIGINAL.—EXAMPLES OF THE USE AND ABUSE OF THIS LIBERTY
If it is necessary that a translator should give a complete transcript of the ideas of the original work, it becomes a question, whether it is allowable in any case to add to the ideas of the original what may appear to give greater force or illustration; or to take from them what may seem to weaken them from redundancy. To give a general answer to this question, I would say, that this liberty may be used, but with the greatest caution. It must be further observed, that the superadded idea shall have the most necessary connection with the original thought, and actually increase its force. And, on the other hand, that whenever an idea is cut off by the translator, it must be only such as is an accessory, and not a principal in the clause or sentence. It must likewise be confessedly redundant, so that its retrenchment shall not impair or weaken the original thought. Under these limitations, a translator may exercise his judgement, and assume to himself, in so far, the character of an original writer.
It will be allowed, that in the following instance the translator, the elegant Vincent Bourne, has added a very beautiful idea, which, while it has a most natural connection with the original thought, greatly heightens its energy and tenderness. The two following stanzas are a part of the fine ballad of _Colin and Lucy_, by Tickell.
To-morrow in the church to wed, Impatient both prepare; But know, fond maid, and know, false man, That Lucy will be there.
There bear my corse, ye comrades, bear, The bridegroom blithe to meet, He in his wedding-trim so gay, I in my winding-sheet.
Jungere cras dextræ dextram properatis uterque, Et tardè interea creditis ire diem. Credula quin virgo, juvenis quin perfide, uterque Scite, quod et pacti Lucia testis erit.
Exangue, oh! illuc, comites, deferte cadaver, Qua semel, oh! iterum congrediamur, ait; Vestibus ornatus sponsalibus ille, caputque Ipsa sepulchrali vincta, pedesque stolâ.
In this translation, which is altogether excellent, it is evident, that there is one most beautiful idea superadded by Bourne, in the line _Qua semel, oh!_ &c.; which wonderfully improves upon the original thought. In the original, the speaker, deeply impressed with the sense of her wrongs, has no other idea than to overwhelm her perjured lover with remorse at the moment of his approaching nuptials. In the translation, amidst this prevalent idea, the speaker all at once gives way to an involuntary burst of tenderness and affection, “Oh, let us meet once more, and for the last time!” _Semel, oh! iterum congrediamur, ait._—It was only a man of exquisite feeling, who was capable of thus improving on so fine an original.[15]