Year: 1871

BAYARD TAYLOR'S TRANSLATION OF FAUST.


fsEcoND PARTI


FAUST A TRAGEDY, by johann WoLFGANG Won yoN


GOETHE. The Second Part translated IN the orig


inal Metres, by BAYARD TAYLOR Alto. PIP. 5S6 James


K Ossood Co.


The great literary enterprise which is now brought
20 a successful close by the completion of the eel
ebrated masterpiece of GOothe's genius, has been
greeted with apprecative and kindly welcome
by the admirers and students of the lustrOus poet
no less in Germany, than in our own country. A
grateful recognition has been accorded to the sim
prlar qualifications of Mr.. Taylor for the task 10
which he has devoted so many of the best
years of his lfe and TO the admirable
manner in which he has introduced a re-
rarkable representative work OF the century
into English literature. Nothing but passionate
enthusiasm for the subject could have inspired the
translator with the energy and zeal for the accom-
pisbmcnt of his work. But this alone was not suf-
fcient Many have fallen from lofty hight by
trusting to their zeal in sublime cause, without
observing the conditions essential to success. But
Mr. Taylor has engaged in no rash adventure. In
addressing himself TO his task he has combined the
resources of critical scholarship poetic gift and lite
rary faculty. with patience Of labor, and spirit
of fidelity in the execution of details which are
almost as rare as the creative genius which inspired
the original work.


In the Translation of the Second Part of Faust,
which is now before the public, We think that Mr..
TAYLOR exhibits the uniform excellence which has
won so high reputation for the previous INSTALL


ent of the work. There is no trace OF WEAKNESS IN
the performance, no abatement OF the vigilance
essential to an accurate report, no langmd acqul-
escence in words and phrases that fall short OF the
obscure depths and mystic significance OF the mar
velous original. Indeed, the most delicate part of
Mr. Taylors work was to be accomplished before
commencing the actual business of translation. An
Intellectual version to be made before the labor
of verbal rendering could be taken in hand. The
dream of the poet must be interpreted, brought
down from the shadOwy symbols of the
imagination to the lucid conceptions of the under
standing, before any progress could be made IN
transferring its spirit into another language. In this
respect. no great poem in any literature presents
difficulties of so grave moment as Faust. The
picturesque descriptions of Homer bring the remin-
iscences of the eve in clear relief before the mind
and even the awful visions of Dante present less
embarrassment to the student of insight and retec-
tiOn than the subtle mysteries in which Goethe has
shrouded the images of his fancy. Mr.. Taylor has
met the peculiar exigencies of the case without
shrinking. yet without presumption. In his con-
structon of the poem, are impressed with the
remarkable temperance of his judgment. He runs
into no extremes He is not seduced by the
ingenious theories of critics and schOliasts who
have made Faust the subject of comment. He gives
fair hearing TO every opinion that can justly chal
lenge regard, but never from the steadfast
ness of his own convictions The parade of learning
which has been brought to bear upon the subject
never dazzles his eyes with its Elusive glamour.
He is not TO be tempted by any plausible artifces
which seek to color the truth in favor of per-
sona fsnces and submits all speciOus reasonings to
the test of sound poetic instinct and the dictates of
good He often gains more by a single glance
at the ornament, than he would by long gazing at
The Sun through the smoked glasses Of the theorists
Nor is the integrity of his criticism less conspicuous
than its insight. He never processes TO understand
passage which does not yield reasonable mean
ing. In no case does he attempt to throw handful
OF learned dust into the eyes % his readers Often
he content 10 acknowledge his Ignorance, though
IN many cases he gives clue to the sense of the
author that lad escaped the notice of previous stu
dents


The general conclusions as 10 the aim and method
OF the Second Part of Faust at which Mr. Taylor has
arrived may be stated in brief outline, and will
perhaps prove Of interest TO our readers who do not
enjoy the opportunity of pursuing his elaborate dis
-cussiOns for themselves


The Second Part of Faust according to Mr.. Tay-
lor possesses higher intellectual character than
the First Part, although it has less dramatic and
poetical power. Both Mr.. Hayward and Mr. Iewes
fall into the error Of regarding il as chaotic. and
without consistent design, the production of
Goethes Old age, whereas 1t was the conceptiop Of
his prime, wholly planned and partly written before
the publication OF the First Part. No eomnarison
however. should be made between the two parts of
Faust. The story which comes to an end in
the dungeon of Margaret is not resumed, although
the moral problem is developed OH larger scale In
the opening of the Second Part we are brought into
new atmosphere, and find that a change has come
overour old acquaintances Mephistopheles and Faust
The fIrst Part is the development of obscure in
dlyidual condition, almost entirely subjective and
expressing restricted and passionate nature. The
second Part on the other hand, is embarrassed By
The accumulated wealth of material from the cx-
'cfna. world. Ii cannot be comprehended by per
sou Wltu0uf "A. wide evnefi.nce of Il j.