fuperadded the harfhnefs that must attend every copy in which the artist fcrupulously studies to imitate the minutest lines or traces of his original.

As these two opinions form opposite extremes, it is not improbable that the point of perfection should be found be tween the two. I would therefore defcribe a good tranflation to be, That, in which the merit of the original work is fo completely transfufed into another language, as to be as diftinctly apprehended, and as Atrongly felt, by a native of the country to which that language belongs, as it is by thofe who fpeak the language of the original work.

Now, fuppofing this defcription to be a juft one, which I think it is, let us examine what are the laws of translation which may be deduced from it.

IT

IT will follow,

I. THAT the Tranflation fhould give a complete tranfcript of the ideas of the original work.

II. THAT the style and manner of writing fhould be of the fame character with that of the original.

III. THAT the Tranflation fhould have all the ease of original compofition.

UNDER each of thefe general laws of tranflation, are comprehended a variety of fubordinate precepts, which I fhall notice in their order, and which, as well as the general laws, I fhall endeavour to prove, and to illuftrate by examples.

CHAP.

CHA P. II.

First general rule-A Tranflation Should give a complete tranfcript of the ideas of the original work.-Knowledge of the language of the original, and acquaintance with the fubject.-Examples of imperfect transfufion of the fenfe of the original.-What ought to be the conduct of a Tranflator where the fenfe is ambiguous,

N order that a tranflator may be ena

IN

bled to give a complete tranfcript of the ideas of the original work, it is indispensably necessary, that he should have

a perfect knowledge of the language of the original, and a competent acquaintance with the fubject of which it treats. If he is deficient in either of these requifites, he can never be certain of thoroughly comprehending the fenfe of his au thor. M. Folard is allowed to have been a great master of the art of war. He undertook to tranflate Polybius, and to give a commentary illuftrating the ancient Tactic, and the practice of the Greeks and Romans in the attack and defence of fortified places. In this commentary, he endeavours to fhew, from the words of his author, and of other ancient writers, that the Greek and Roman engineers knew and practifed almost every operation known to the mo derns; and that, in particular, the mode of approach by parallels and trenches,

f

was perfectly familiar to them, and in continual ufe. Unfortunately M. Folard had but a very flender knowledge of the Greek language, and was obliged to ftudy his author through the medium of a tranflation, executed by a Benedictine monk*, who was entirely ignorant of the art of war. M. Guifchardt, a great military genius, and a thorough mafter of the Greek language, has fhewn, that the work of Folard contains many capital misrepresentations of the fenfe of his author, in his account of the most important battles and fieges, and has demonftrated, that the complicated fyftem formed by this writer of the ancient art of war, has no fupport

from any of the ancient authors fairly interpreted t.

*Dom Vincent Thuillier.

+ Memoires militaires de M. Guifchardt.

THE