« ZurückWeiter »
BOOK OF VERSIONS,
Words marked with an asterisk [*] are to be omitted in the Translation.
ON THE FRENCH LANGUAGE.
Perspicuity, order, accuracy, and purity of expresszon, distinguish the French language, and give it a graced which pleases alle nations; its order in the expression of thoughts makes it easy, its accuracy banishes all overstrained metaphors, and it forbids all useh of coarse terms.
The French language, having noi declensions, and being always subjected to itsk articles, cannot adopt the Greek and Latin inversions1; it obliges words to take their place in the natural order of ideas. Its auxiliary verbs, its pronouns, its articles, its want of declinable participles, and its regular formation, are not favourable to the highest degrees of poetical enthusiasm. It has less resources
a La clarté,-b la justesse ;-c des termes ;-d lui donnent un agrément;-e plaît à toutes;-f la rend ;-8 en bannit toutes les métaphores outrées ;-h et cette langue interdit tout usage ;-i n'ayant point de ;-k asservi aux ;- inversions Grecques et Latines;—m à se ranger; dans; son manque ;
of this kind than the Italian and English, but it is peculiarly well adapted for tragedy and comedy, politer conversation, and a simple and elegant style. The natural order according to which thoughts must be expressed and sentences constructed in that language, gives it a softness and facility which is extremely pleasant;" and the genius of the nation, combined with the genius of the language, has given birth to the great number of works agreeably written which adorn French literature2.
Pen ce genre ;-4 mais elle est très-propre à ;--r délicate;s dans lequel on est obligé d'exprimer ses pensées ;-t et de construire ses phrases; agréable; se mêlant au ;-y a produit ce ;z la littérature Française.
A* MEMBER of the French Academy, and one of the most famous poets of the age of Louis XIV.; he is the Juvenal of the French, and far superior to the Roman writer in his satires, in point of delicacy and chasteness of style. His productions gained hime great reputation, particularly his Art of Poetry, his Epistles,' and his Lutrin:' nos French poet has been so correct in his style, and few equal him in strength and harmony. He has written some Odes,' but they are inferior to those of J. B. Rousseau. It has been* said of him, that his verses will be read even when the language is obsolete', and will be the last ruins of it. Dr. Warton mentionsm Boileau's 'Art of Poetry,' as the best composition" of that kind extanto.
• l'un ;-b siècle ;-c c'est ;-d à l'égard de la ;--e lui firent une; -f Poétique; aucun ;-h pur ;-i l'ont égalé ;—k On ;—1 aura vieilli fait mention de; comme du meilleur ouvrage ;qui existe en ce genre.
PARALLEL BETWEEN ELIZABETH QUEEN OF ENGLAND, AND MARIA THERESA, OF AUSTRIA.
These sovereigns afford a brilliant parallel for history. Both, gracings their sex, their country, and their throne, have given lessons of genius to kings; and what is more rare still, they have devoted genius to the happiness of nations. Both, taught by misfortune, have learnt, in the painful struggle of adversity, to strengthen their character, to extend the resources of their minds, to submit to events, and to exhibit2 an heroism of circumstances as well asa of principles. The genius of Elizabeth was of a more creative nature, and bolder; she laid the foundation of the ambitious designs of England. Maria Theresa, less venturousd, directed her views rather to preserve than to create. The formere curbed a restless and prouds nationh by directing its activity towards grand objects, and gave it a new appendage-the sea; a new country1
both worlds. The latter rousing° a quiet people, inspired them with a desirer of another kind of conquest, more congenial to their manners,that of their native lands, through labour and industry. Both have enjoyed almost absolute powert. The one, by her successes, obliged the proud Briton to forgive her the despotism of her will; the other, by her moderation and mildness, tempered hereditary despotism, which she only enforced to be benevolent without contradiction.
P DE;- Ces deux ;--r offrent.-s Toutes les deux honorant ;t consacré ;—" instruites ;- lutte pénible contre ;-y ame ;—2 à se soumettre aux évènemens, et à se faire ;-a autant que ;b plus créateur;-c elle a préparé ;-d entreprenante.- -e La première; réprima ;-g impatient et fier;-- peuple ;- en dirigeant ;-k apanage; patrie ;-m les deux. La seconde ; —o excitant ;—P lui inspira le goût;—4 genre ;— conforme ;
propre pavst joui d'un pouvoir presqu' absolu ;-u força -de lui pardonner;-y dont elle ne fit usage que pour être.
He was the first dramatic author of eminencea among the French: he joins to many defects, beauties of the first order; he did not possess the pure and delicate taste of Racine; he was inferior to the latter in painting the softer passions, but he possesses more fire and more majesty; the flights of his imagination are sublime; the heroes whose pictures he delineates, are truly great; and his masterpiece, the Cid,' will ever remain on the French stage a fine monument of his genius.
Ce fut ;-a célèbre;-b à celui-ci;-c les tendres ;—d a;-e élans ; -f dont il nous a tracé le tableau ;-g restera toujours au.
THE INDIAN CHIEF.
Plutarch, in the Lives of Illustrious Men,' does not record a nobler answer than that which returned by a Canadian chief to Europeans, who wished to induce him to give up his patrimony. "We were born," said he, " upon this spot; our fathers are buried here"; shall we say to the bones of our fathers, rise up! and go with us to aP strange land?"-VOLTAIRE.
h Plutarque ;-i dans la Vie des ;-k ne cite pas; que fit; m dans ce lieu ;- y;- ossemens ;-P dans une.
ALTHOUGH inferior to his great dramatic rivals, Corneille, Racine, and Voltaire, he opened a new path; in which he succeeded well*. Corneille had astonished the mind by the sublimity of his thoughts; Racine had moved the heart, and Crebillion struck it with terror. Voltaire has been
il se fraya une nouvelle carrière ;-r le frappa de ;
unjust and too severe towards hims. When Crebillon was received at the French academy, they' applauded, in his discourse for this occasion", the truth of the following line3:
Aucun fiel n'a jamais empoisonné ma plume.
What a contrast between his conduct, and that of his critic!
à son égard ;-t on ;- cette occasion;- à la vérité ;y vers;-z entre.
PARALLEL BETWEENa BOSSUET, AND BOURDALOUE.
BOSSUET was born with much more genius than Bourdaloue; however, the sermons of the latter are better written, better finished, and more methodical; which ought not to surprise usd, since they were the only object of his literary labours. If wes compare one sermon with another, Bourdaloue will have the advantage; but, if we compare passages, he will lose greatly by the comparison. Bossuet is more luminous, original, and rapid": his style is elevated and strong, his familiarity is noble, the soarings of his imagination are sublime, his dèscriptions lofty and strikings, his transitions suddent, and yet always natural: he reveals profound truths, which are only found by diving deeply into our own heart; the majesty of his thoughts, and his strength of expression, are truly his own. He frightens the sinner, and gives him up to2 remorse, to complete his conversion.-CARDINAL MAURY.
a DE;-b naquit ;-c de celui-ci ;-d et il ne faut pas en être surpris;-e puisqu'ils ont été ;-f travaux ;- Si l'on ;- -h sermon à sermon; mais si l'on oppose trait à trait;- 1 beaucoup ;m à ce parallèle ;- impétueux ;- ferme ;-P élans;-9 ses tableaux; majestueux ;-s imposans ;-t brusques;—" qu'on ne découvre qu'en creusant profondément dans son ;-x et la vigueur de ses expressions ;-y lui sont propres ; et le livre au; pour achever.