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not a single tragedy, derived from the Greek mythology, keeps possession of our stage, or is read in our closet.
The reasons which we have assigned above for the style which the Greeks adopted in their drama, will, we think justify a poet for using the same style in scriptural subjects. The characters are too well known to all, and too sanctified in our imaginations, to admit of any addition, or any thing that is not perfectly dignified and solemn. Accordingly, we have always considered Athaliah as the first production of the French drama, no doubt because we could there tolerate the French manner. While we have yawned, (we fairly confess it,) in the midst of all the elegance and well-wrought woes of Phédre and Andromaque, we have never risen from the perusal of Athaliah, but with feelings of the most sublime solemnity.
We are not sorry, therefore, to see Athaliah in an English dress; and we are, on the whole, not discontented with the dress in which the translator has chosen to present her to the public. We could have wished, indeed, that it had been a little more in the costume of our older dramatists, a little inore in that flowing and peculiar style which we should find it difficult to describe, but no one, we are fully persuaded, who has competently adınired Shakspeare and Massinger, will feel perfectly content with a tragedy in any style but our own, or will ever think any style our oron, but that of our good old school. This style consists partly in the language, and partly in the flow of the verse, but is perfectly indescribable in both. * In this style, which, we think, is by no means unattainable in the present day, we have often wished for two or three volumes, containing specimens of plays, not of parts of plays, from the Greek, French, Italian, Spanish and German writers. Would not this, it may be said, be transgressing against a rule we have so often laid down, that every translater should be as much as possible in the style of the original? We ask, in answer, whether the style of Massinger and Shakspeare be the same? whether Jonson's be like either? Whether, again, Beaumont and Fletcher did not adopt one entirely distinct from all three? What we recommend is, merely a kind of dialect of the English language, and a particular form of the English verse; to which, we think, a person who should make the above objection would be to the full' as pedantical, as he who should translate a Greek play in Iambic alexandrines, with a proper mixture of acatalectio anapæstic dimeters, with their bases and proceleusmatic verses. This is as much the appropriate style of the English drama, as rhyming alexandrines are of the French. We should wish to see Shakspeare himself in rhyme, when translated into French; certainly not for our own gratification, but because we are well aware that the French could enjoy him in no other than a national dress.
We shall leave our readers to form their own estimate of one or two passages of the English Athaliah.
ABNER. . .
Oh joyous day!
5. Whate'er I did,
A dream--shall Athaliah prate of dreams!
All the Chorus.
- Second Voice. She rises with celestial splendour crown'd!
First Voice. Fatal fall!
: Three Voices.
Is the ocean of thy love ! pp. 62-64.
Years to the period of his Marriage with the Arch-Duchess Maria Louisa. Written by Himself, during his residence in the Isle of Elba. 2 Vols 12mo. Price 10s. 6d. No English Publisher's name. D'HIS is a publication, which so outrages both decency and
common sense, and which carries on its face so obvious an air of imposition, that nothing but an insatiate appetite for slander could, we should imagine, reconcile any one to its perusal We should entertain no hope as to the moral chavacter of the person who has endeavoured, without sufficient ability to support the deception, to impose these coarse and puerile eflusions upon the public 'as the production of Napoleon Bonaparte; were it not that in withholding his name from this despicable performance, he gives some indication of a sense of shame. The soi-disant Editor pretends that a Duke, whose name we are left to guess, brought him the manuscript, with an injunction to print it!
It is perfectly unnecessary to attempt to prove that this is not the performance of Napoleon Bonaparte. The ignorance of the Author, with respect both to the character it professes to delineate, and to the human character in general, appears in every page. Napoleon is made not only to accuse himself of crimes at nine years of age, which not the laxest morality would hold venial in manhood, but to argue coolly in their defence upon the ground of moral and physical considerations, The work does not contain a single interesting anecdote or trait of character; it consists merely of a succession of vulgar excesses vulgarly narrated, and might just as well have been an account of the private hours of the Editor himself, as of Bonaparte. But the strongest terms of reprobation are due to the deliberate wickedness of an author, whose apparent object in the polluting details of his narrative, is to do as much mischief as comes within the slender compass of his ability.
We cannot forbear severely to reprehend the translator, and all who have been concerned in ushering into public notice this silly and impure performance.
Art. XIV. The Spirit of Prayer ; or a Discourse on the Nature of
Prayer, &c. With directions for attaining the Gift of Prayer. By Nathaniel Vincent, M.A. a Non-Conformist Minister. A new Edition, carefu!ly Revised and Corrected. To which a Memoir of the Author is prefixed By J. H. Hopkins. 18mo. pp. xviii, 168. Price 28. Conder. EVERY judicious effort to preserve the remains of the Non
V conforinist ministers froin oblivion, is highly deserving of commendation They were inen, not only pre-eminent as judiciqus divines, but for the most part of highly respectable and very solid attainments in learning, and many of them were distinguished as scholars and as pulpit orators. The naine of Nathaniel Vincent is by no means one of the least venerable. Wood, in his Athena Oxononienses, mentions him as a considerable scholar.
This little work, which on its first publication went through • at least five editions,' had become exceedingly scarce, and almost unknown. Its intrinsic excellence, as a plain and useful treatise on the subject of Prayer, rendered its publication very desirable, and the public are indebted to Mr. Hopkins for the cheap form in which he has printed this edition, in the hope of its obtaining a wide circulation.
Art. XV. Considerations sur Genève, dans ses Rapports avec l'An
gleterre et les Etats Protestants, Suivies d'un Discours prononcé à Genève sur la Philosophie de l'Histoire. Par J. C. L. Sismonde de
Sismondi. 8vo. pp. 47. Murray. 1814. THESE two short pieces bear the characteristics that distin
guish the larger works of the Author, which have made him so advantageously known, on the Continent and in this country. They display liberality and comprehension of views, powers of language, and a certain warmth and benevolence of feeling,