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Goethe has written in rhyme. As to the occasional use of blank verse by the translator, the example of its use has been given by Goethe in the Poem, which shows that in his view it was not inconsistent with the character of the Work; and in a continuation of Faust by Koscukranz — an intelligent student of Goethe's poetry — the same form is freely adopted. I have no distinct recollection of what may have influenced me in writing any particular passage — perhaps often mere accident; but it appears to me that our dramatic blank verse, which I have occasionally written in, by its trochaic endings, enables a translator to preserve the character of Goethe's versification, which would have been lost had I ventured by the use of pure iambic lines essentially to vary his forms. To have lost the trochaic endings of the lines, would have been to alter the character of Goethe's verse essentially. To have, wherever such lines occur in my translation, sought to wed them to rhyme, would not do in a language where, as hitherto written in England, such rhyme, in serious poetry, only appears as an accidental variety. In the translations of Dante by the writer, known under the name of "Philalethes," and in that by Longfellow, the wish to preserve something of the effect of the Italian versification, has led both of these eminent men to prefer the use of lines with trochaic endings to the pure iambic, even at the sacrifice of rhyme. The preservation of the metre itself was felt by them of more moment, even in Dante — where the perpetual recurrence of the same sounds
FROM THE GERMAN
JOHN ANSTER, LL.D.
LONDON: SAMPSON LOW, MABSTON & COMPANY, LIMITED.
PARIS: LmRAIBIE C. REINWALD, 15, RUE DES MAGNETOS THE