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Thomas Percy’s Translation of Ovid’s Epistles: Introduction and Text
Gillespie S.
Q4
By the time he published the Reliques of Ancient English Poetry, for which he is chiefly known today, in 1765, Thomas Percy had a record of diverse literary and linguistic interests, in many cases in the role of a translator. Inasmuch as they lack connections with the Reliques these tend to be downplayed or overlooked. One of his numerous unpublished projects, belonging to 1758, was a translation of Ovid’s Epistles in a verse form he thought of as an English equivalent for Latin elegiac couplets. First discussing some of the implications for our understanding of Percy’s place in literary history, this contribution presents a text of the five epistles Percy completed (Ovid’s Epistles 1–5) as they appear, uniquely, in autograph in Bodleian MS Percy e. 6.
Theodor Fontane: Mathilde Möhring. translated by Rachel Huener
Schofield B.
Q4
Travesty, Parody, Enchantment: Translating Hanibal Lucić's Vila
Bracewell W.
Q4
‘Jur nijedna na svit vila’, by Hanibal Lucić ( c.1485–1553), is one of the best known and most loved poems of the Croatian Renaissance, but translating it into a different context poses problems of reception. The article uses travesty and parody to address the issues of poetic vocabulary and gender regime, and finds similarities between such techniques and translation. Each of these can prompt a critical interpretation of the poem. But the resulting critical gaze does not necessarily lead to an adequate reading, and the article goes on to discuss aspects that are obscured in translation, from echoes of oral literature to the grammar of traditional love-charms, suggesting that the point of the poem is to convey an emotional effect, that of enchantment or wonder, that is not accessible through critique. But does such magic, which demands exact repetition, work in translation?
A Victorian Dantofilo: Henry Clark Barlow’s Paradiso 7
Gillespie S.
Q4
Henry Clark Barlow (1806–1876) was a lifelong student of Dante, publishing copious amounts of scholarship and a major edition of the Divina Commedia. He was also given to composing English poetry. He translated just one canto of Dante’s Commedia into English verse, which he never published: Paradiso 7. In this note the translation is introduced and transcribed from the University College London archive containing Barlow’s papers.
Two Satires of Boileau Translated by Sidney Godolphin (1645–1712), Lord Treasurer
Gillespie S.
Q4
Sidney Godolphin (1645–1712), first Earl of Godolphin, the nephew of the Civil War poet responsible for The Destruction of Troy, was a translator and versifier as well as a very prominent courtier and politician. One or two of his literary productions were published posthumously. Unprinted and unknown until now have been his verse translations of Nicolas Boileau: Satires 2 and 5, and one canto of L’Art poétique. The two satires are here introduced and transcribed in full from the British Library manuscript in which they appear.
George Orwell and Russia. By Masha Karp
France R.
Q4
Creative Translation and Classical Reception: The English Pervigilium Veneris
Gillespie S.
Q4
This discussion addresses selected English versions of the late Latin poem the Pervigilium Veneris from the seventeenth century to the twentieth. Most translations, these versions show, construct the poem in accordance with their own era's tastes and assumptions, but this predictable outcome is not the only one possible. Creative translations are different: they seem to show not (or not only) how the work was once seen, but what it still is, or can be. Thus translations are able, in special cases, to do much more than provide evidence about how a cultural artifact of the past has been constructed over time – the usual starting point in reception study. In this instance the early translations by Thomas Stanley (1647) and Thomas Parnell (1722), rather than any of those which have proliferated since the nineteenth century, belong in this special category.
Ghostly Reception and Translation ad spiritum: The Case of Nicholas Grimald’s Archipropheta (1548)
Jackson L.
Q4
When considering the landscape of drama and theatre performance in the sixteenth century in terms of classical reception, original plays written in Latin have not been accorded full attention. The many hundreds of Latin plays written and performed in England alone in this century were potentially vital locations for experimentation and for the reception not only of obvious Roman models but also of ancient Greek plays. In this article, one example, the biblical Latin drama Archipropheta by the scholar, poet, and playwright Nicholas Grimald (1519–1562), is examined to show how it is haunted by ancient Greek tragedy. This haunting speaks to the anti-chronological way in which reception of this kind might have worked, with audiences’ first encounters with Greek tragedy as such being shaped by the receptions of Greek tragedy they had already witnessed in original Latin plays such as this.
William Popple’s Horatian Epistles: A Selection
Gillespie S.
Q4
Here are published for the first time selections from William Popple’s Horatian Epistles, part of the complete imitations of Horace he carried out in the 1750s, but which, with the exception of only two poems, have not until very recently been printed. Popple writes under the strong influence of his admired Alexander Pope, and the majority of Pope’s Horatian imitations had been epistles. Popple’s plan committed him to completeness, so as well as the rest he imitated the five epistles imitated by Pope, making comparisons inevitable. Of the epistles in this selection, both writers imitated 1.1 and 1.7. The others included here are 1.16, 1.17, 1.19, 1.20, and 2.2.
Publishing and Editing Translated Poetry
Boase-Beier J.
Q4
