CHAPTER XIV.

Of Burlesque Translation. -Travesty and Parody.-Scarron's Virgile Travesti—Another Species of Ludicrous Translation.

In a preceding chapter, while treating of the translation of idiomatic phrases, we censured the use of such idioms in the translation as do not correspond with the age or country of the original. There is, however, one species of translation, in which that violation of the costume is not only blameless, but seems essential to the nature of the composition: I mean burlesque translation, or Travesty. This species of writing partakes, in a great degree, of original composition; and is therefore not to be measured by the laws of serious translation. It conveys neither a just picture of the sentiments, nor a

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faithful representation of the style and manner of the original; but pleases itself in exhibiting a ludicrous caricatura of both. It displays an overcharged and grotesque resemblance, and excites our risible emotions by the incongruous association of dignity and meanness, wisdom and absurdity. This association forms equally the basis of Travesty and of Ludicrous Parody, from which it is no otherwise distinguished than by its assuming a different language from the original. In order that the mimickry may be understood, it is necessary that the writer choose, for the exercise of his talents, a work that is well known, and of great reputation. Whether that reputation is deserved or unjust, the work may be equally the subject of burlesque imitation. If it has been the subject of general, but undeserved praise, a Parody or a Travesty is then a fair satire on the false taste of the original author, and his admirers, and we are pleased to see both become the objects of a just castigation. The Rehearsal, Tom Thumb, and Crononhotonthologos, which exhibit ludicrous parodies of passages from the favourite dra

matic writers of the times, convey a great deal of just and useful criticism. If the original is a work of real excellence, the Travesty or Parody detracts nothing from its merit, nor robs the author of the smallest portion of his merited praise *. We laugh at the association of dignity and meanness; but the former remains the exclusive property of the original, the latter belongs solely to the copy. We give due praise to the mimical powers of the imitator, and are delighted to see how ingeniously he can elicit subject of mirth and ridicule from what is grave, dignified, pathetic, or sublime.

The occasional blemishes, however, of a good writer, are a fair subject of castigation; and a travesty or burlesque parody of them will please, from the justness of the satire: As the following ludicrous version of a passage in the 5th Æneid, which is among the few examples of false taste in the chastest of the Latin Poets:

In the description of the games in the 5th Æneid, Virgil every where supports the dignity of the Epic narration. His persons are heroes, their actions are suitable to that character, and we feel our passions seriously interested in the issue of the several contests. The same scenes travestied by Scarron are ludicrous in the extreme. His heroes have the same names, they are engaged in the same actions, they have even a grotesque resemblance in character to their prototypes; but they have all the meanness, rudeness, and vulgarity of ordinary prizefighters, hackney coachmen, horse jockeys, and watermen.

Medio Gyas in gurgite victor

Rectorem navis compellat voce Menætem ;
Quo tantum mihi dexter abis? huc dirige cursum,
Littus ama, et lævas stringat sine palmula cautes;
Altum alii teneant. Dixit: sed cæca Menates
Saxa timens, proram pelagi detorquet ad undas.
Quo diversus abis? iterum pete saxa Menœte,
Cum clamore Gyas revocabat.

Gyas, qui croit que son pilote,

Comme un vieil fou qu'il est, radote,

De ce qu'en mer il s'elargit,
Aussi fort qu'un lion rugit;
Et s'ecrie, écumant de rage,
Serre, serre donc le rivage,

Fils de putain de Ménétus,

Serre, ou bien nous somme victus :
Serre donc, serre à la pareille :
Ménétus fit la sourde oreille,

Et s'éloigne toujours du bord,

Et si pourtant il n'a pas tort:
Habile qu'il est, il redoute

Certains rocs, ou l'on ne voit goutte

Lors Gyas se met en furie,

Et de rechef crie et recrie,

Vieil coyon, pilote enragé,

Mes ennemis t'ont ils gagé

Pour m'oter l'honneur de la sorte?

Serre, ou que le diable t'emporte,

Serre le bord, ame de chien:

Mais au diable, s'il en fait rien.

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IN Virgil, the prizes are suitable to the dignity of the persons who contend for

them

Munera principio ante oculos, circoque locantur
In medio: sacri tripodes, viridesque coronæ,
Et palmæ, pretium victoribus; armaque, et ostro
Perfusæ vestes, argenti aurique talenta.