# Orlando Furioso (Rose)/Introduction

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INTRODUCTION.
It will, probably, be expected that a new translation of the Furioso should be prefaced by some account of the versions which have preceded it; and I the more readily undertake this little task, as in the execution of it my reasons will be found for the enterprize upon which I have myself adventured.
The first version of Ariosto’s great poem was made by Sir John Harrington, the godson of Queen Elizabeth, who translated it into the same stanza as that of the original. The main defect of this work is its infidelity, and I cannot better illustrate this than by observing, that he has compressed a canto of nearly two hundred stanzas into ninety. A more unpardonable defect is, that he always omits what is best worth preserving; and, as an Italian friend ​once observed to me, it is the poetry of Ariosto which he sacrifices. Another defect of this translator is that of exaggerating the extravagances of his author, and often spreading a ray of humour into a broad glare of buffoonery.
The history of his work may explain these faults, and more especially the last; as we are told he began his labours with the story of Giocondo, without the intention of pursuing them further; when his royal mistress imposed upon him the entire version of the Furioso as a sort of covering for the indecent episode which he had chosen to give as a specimen of the Italian.
If, however, Harrington cannot pretend to much merit as a translator, he has some claims to consideration as a writer, and his work has fallen into more obscurity than the antiquated language in which he writes, will serve to explain. His idioms, his grammar, and his construction (though things with difficulty kept free from foreign modes of speech in a translation) are exclusively English. His narrative is light and lively, and, in perusing it, the ​reader always feels as if he is swimming with the stream.
The gleam of Italian sunshine, during which he wrote, though it produced beneficial effects upon our literature, was of short duration.
“At one stride came the dark.”
The study of Italian letters was dropped at once, and I believe that no traces of literary intercourse between Italy and England are to be found during the succeeding age.
In the reign of George II. however, we have a proof of renewed intercourse in the publication of a new translation of the Furioso, dedicated to that monarch, as Harrington's version had been to Queen Elizabeth. This work was produced by William Huggins, Esq. of Headly Park, near Farnham, in Surrey. He was, I am told, reckoned in his day a very learned man, was passionately devoted to music, said to be a great proficient in it, and to have been ​the person who figures in Hogarth’s picture, as the Enraged Musician.
But, whatever other accomplishments he may have possessed, he had certainly no feeling of poetry, and seems to have taken it up as Vernon did rebellion; “because it lay in his way.” At least I know no better reason for his translation of Ariosto than his having made a journey to Italy.
The title-page of his book (in two vols. quarto) bears the date of 1757, and was printed for Rivington in Paternoster-row, and John Cook, a bookseller of Farnham, whose shop I remember frequenting in the days of my boyhood. It is printed with the English and Italian confronted, executed in the same stanza as Harrington’s version, and translated line for line. Though there are to be found in it some very strange mistakes of Ariosto’s meaning, it is, generally speaking, faithful, and as such, has, primâ facie, strong claims upon attention. But a species of fidelity is hardly to be coveted, which, at the best, does not accomplish the only end which should be proposed by it. For the translator often ​departs from the sense of the author, while he echoes his very words. Take an instance. Ariosto has this line.
Dove presso à Bordea mette Caronna.
“where the Garonne disembogues itself near Bordeaux:” which Huggins has rendered,
Where to Bordea runs Caronna near.
The thing, perhaps, most worthy of remark in his book, is a passage of the preface, which throws a curious light upon the state of Italian literature in England at the period of its publication. “It may not be improper (says the author) to observe, that after this work was pretty far advanced, I was informed there had been a translation published in the reign of Elizabeth, and dedicated to that queen. Whereupon I requested a friend to obtain a sight of that book; for it is (it seems) very scarce, and the glorious original much more so in this country.”
A few years produced a singular revolution in this respect. Several editions of Ariosto have since that period been published in England; and Hoole’s ​version, the next which succeeded that of Huggins, has, I believe, gone through nearly twenty editions.
This last circumstance may, however, be cited, rather as a proof of the new passion entertained for Italian literature, than as an illustration of the progress which had been made in it: for never was a worse or more faithless translation executed than that of Hoole. Every grace, every shade, every gradation of colouring which distinguishes Ariosto, is lost in it. Thus, where the Italian poet, in imitation of Homer, wishing to diversify a scene of slaughter, by giving something of character or of locality to his victims, tells us that Rodomont wounded Lewis the Provencal, Luigi il provenzal, Hoole has absurdly translated the passage ‘Provincial Lewis;’ thus awakening a most ridiculous train of ideas, and suggesting the notion of some unfortunate provincial who had the misfortune to have his brains knocked out on his visit to the metropolis. Nor are they only tints and shades which are sacrificed in this miserable copy; for the sense of the author, where most obvious, is frequently ​misinterpreted; and in one couplet the translator has actually mistaken north for south, and sun for wind; the one specified, and the other obviously implied. The words of the original are,
‘Ver ponente io andava lungo la sabbia, Che del settentrion sente la rabbia.’
Canto VI. stanza xxxiv.
Which passage is thus rendered by him:
Against the west along those sands we came, Which feel the southern heat of Phœbus’ flame.
In addition, however, to the mistakes of Hoole, and what I must call the meanness and monotony of his poetry, I am inclined to consider the metre which he has chosen, as one among the many causes of his failure: this is our heroic couplet, which appears to me to be the measure most opposite to that of Ariosto which could possibly have been selected. Nothing but a stanza can reflect the original; for it is to be observed, that the poet ​usually closes the idea with it, and that the end of most of them is marked by something epigrammatic either in sense or sound, which would be out of its place except in the concluding couplet. Each canto, or collection of stanzas, then may be compared to a gallery of cabinet pictures, all perhaps striking or beautiful, but frequently executed on different principles, each of which is often only in harmony with itself. Whoever, therefore, unites any of these little paintings, yet more, he who runs them into one piece, will necessarily either present a picture full of cross lights, and every species of inconsistency, or will only avoid this by leaving out whatever is most characteristic in the original, and by making a smear without light, shade, or distinction of outline.
Entertaining this opinion, I have chosen the stanza in preference to the couplet; and because I would imitate Ariosto as closely as the nature of our language will allow, have, like Harrington and Huggins, chosen his own ottava rima as the most preferable form of it. Like Mr. Huggins, I have also ​translated stanza for stanza, but have not, however, imitated that gentleman and some German translators by imposing on myself severer restrictions than appeared to me to be necessary; as in rendering him uniformly line for line; the less so because there is little analogy between the construction of the two languages, and what is easy in the Italian (I need not say that ease is one characteristic of Ariosto) might often appear harsh and inverted in English. It is for this reason that I have not fettered myself by the rule I have mentioned, wherever I conceived any bad effect would result from the adherence to it; but I have, on the other hand, observed it where I thought such a compliance was not objectionable; because I would, wherever it was practicable, tread in the very footsteps of the Italian poet.
My reasons for so religious, some may think so superstitious, an observance of my author’s text, have, at least, not been hastily adopted. A long consideration of the means through which he wrought, has convinced me that many strong or beautiful ef​fects produced by him, result out of an accumulation of circumstances, which, though they may appear of little value taken separately, are to be esteemed important as conducing, each in its place, to the main object of the poet. In this particularity he bears a striking resemblance to Defoe. The Furioso moreover often pleases as a whole, where it offends in parts, and, notwithstanding many defects, is perhaps the poetical work which is oftenest reperused with pleasure. Among the many things which have probably contributed to this, may be remarked Ariosto’s frequent sacrifice of force to truth; which (to take a short instance) I should say was illustrated by Pinabel’s narration of the loss of his lady, in the second canto, where some may be inclined to think that the poet overtalks himself, and many might wish to see the infusion of a spirit, which would perhaps be out of harmony with the circumstances. He is often also studious of what the artists call a repose, and upon which a translator should be most cautious never to intrude. These ​are some of the reasons why I have followed my leader so warily, and have never intentionally deviated from the print of his steps.
I am, however, well aware that a very weighty objection may be made to a translation so close as that which I present to the reader. It may be said that a simplicity of diction, which is pleasing in the Italian, is only to be endured in a less perfect language, when seasoned by the addition of some grace, congenial with the spirit of that into which it is transfused: and hence that to translate the Furioso faithfully into English, would be, to borrow a metaphor used somewhere by Alfieri, to transfer an air from the harp to the hurdy-gurdy.
There is, undoubtedly, great force in this reasoning and illustration. To this, however, I will oppose, in the way of question, another illustration which is drawn from a sister art. Would a real lover of Raphael prefer a copy of one of his pictures, which, though well painted, did not convey a true idea of his colouring, or a print of it carefully executed, which gave, at least, a faithful idea of the ​design? To those who would choose the engraving I offer the following translation.
That it is diligently executed, I may venture to assert; for, mistrusting a hasty mode of reading and a facility of composition, I have sought to guard against the faults incidental to these habits, by frequent and attentive correction. I have with this view, submitted every sheet of my present translation to judicious English and Italian friends; have carefully, if not impartially, weighed their objections, and revised my translation more than once by a close comparison with the original.
ERRATA.
Page 32, note 6, for vince, read vinces. Page 38, argument, for Bradamont, read Bradamant. Page 56, stanza liii., dele comma after flanks. Page 88, stanza liii., for campaign, read champaign. Page 89, stanza lvi., instead of as to Augustus, read as to Augustus’. Pige 170, stanza lxxxi, line 5, after who there, as lord, dele and.
* ↑ Coleridge’s Ancient Mariner.
* ↑ Thus translated obscurely, but more accurately, by Huggins. Towards the west I came along that strand Which does the powerful northern blast command.