Charmides. Платон
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passes into the general character of the style. Hence arises a difficulty in translating Greek into English which cannot altogether be overcome. Shall we speak of the soul and its qualities, of virtue, power, wisdom, and the like, as feminine or neuter? The usage of the English language does not admit of the former, and yet the life and beauty of the style are impaired by the latter. Often the translator will have recourse to the repetition of the word, or to the ambiguous 'they,' 'their,' etc.; for fear of spoiling the effect of the sentence by introducing 'it.' Collective nouns in Greek and English create a similar but lesser awkwardness.
(4) To use of relation is far more extended in Greek than in English. Partly the greater variety of genders and cases makes the connexion of relative and antecedent less ambiguous: partly also the greater number of demonstrative and relative pronouns, and the use of the article, make the correlation of ideas simpler and more natural. The Greek appears to have had an ear or intelligence for a long and complicated sentence which is rarely to be found in modern nations; and in order to bring the Greek down to the level of the modern, we must break up the long sentence into two or more short ones. Neither is the same precision required in Greek as in Latin or English, nor in earlier Greek as in later; there was nothing shocking to the contemporary of Thucydides and Plato in anacolutha and repetitions. In such cases the genius of the English language requires that the translation should be more intelligible than the Greek. The want of more distinctions between the demonstrative pronouns is also greatly felt. Two genitives dependent on one another, unless familiarised by idiom, have an awkward effect in English. Frequently the noun has to take the place of the pronoun. 'This' and 'that' are found repeating themselves to weariness in the rough draft of a translation. As in the previous case, while the feeling of the modern language is more opposed to tautology, there is also a greater difficulty in avoiding it.
(5) Though no precise rule can be laid down about the repetition of words, there seems to be a kind of impertinence in presenting to the reader the same thought in the same words, repeated twice over in the same passage without any new aspect or modification of it. And the evasion of tautology – that is, the substitution of one word of precisely the same meaning for another – is resented by us equally with the repetition of words. Yet on the other hand the least difference of meaning or the least change of form from a substantive to an adjective, or from a participle to a verb, will often remedy the unpleasant effect. Rarely and only for the sake of emphasis or clearness can we allow an important word to be used twice over in two successive sentences or even in the same paragraph. The particles and pronouns, as they are of most frequent occurrence, are also the most troublesome. Strictly speaking, except a few of the commonest of them, 'and,' 'the,' etc., they ought not to occur twice in the same sentence. But the Greek has no such precise rules; and hence any literal translation of a Greek author is full of tautology. The tendency of modern languages is to become more correct as well as more perspicuous than ancient. And, therefore, while the English translator is limited in the power of expressing relation or connexion, by the law of his own language increased precision and also increased clearness are required of him. The familiar use of logic, and the progress of science, have in these two respects raised the standard. But modern languages, while they have become more exacting in their demands, are in many ways not so well furnished with powers of expression as the ancient classical ones.
Such are a few of the difficulties which have to be overcome in the work of translation; and we are far from having exhausted the list. (6) The excellence of a translation will consist, not merely in the faithful rendering of words, or in the composition of a sentence only, or yet of a single paragraph, but in the colour and style of the whole work. Equability of tone is best attained by the exclusive use of familiar and idiomatic words. But great care must be taken; for an idiomatic phrase, if an exception to the general style, is of itself a disturbing element. No word, however expressive and exact, should be employed, which makes the reader stop to think, or unduly attracts attention by difficulty and peculiarity, or disturbs the effect of the surrounding language. In general the style of one author is not appropriate to another; as in society, so in letters, we expect every man to have 'a good coat of his own,' and not to dress himself out in the rags of another. (a) Archaic expressions are therefore to be avoided. Equivalents may be occasionally drawn from Shakspere, who is the common property of us all; but they must be used sparingly. For, like some other men of genius of the Elizabethan and Jacobean age, he outdid the capabilities of the language, and many of the expressions which he introduced have been laid aside and have dropped out of use. (b) A similar principle should be observed in the employment of Scripture. Having a greater force and beauty than other language, and a religious association, it disturbs the even flow of the style. It may be used to reproduce in the translation the quaint effect of some antique phrase in the original, but rarely; and when adopted, it should have a certain freshness and a suitable 'entourage.' It is strange to observe that the most effective use of Scripture phraseology arises out of the application of it in a sense not intended by the author. (c) Another caution: metaphors differ in different languages, and the translator will often be compelled to substitute one for another, or to paraphrase them, not giving word for word, but diffusing over several words the more concentrated thought of the original. The Greek of Plato often goes beyond the English in its imagery: compare Laws, (Greek); Rep.; etc. Or again the modern word, which in substance is the nearest equivalent to the Greek, may be found to include associations alien to Greek life: e.g. (Greek), 'jurymen,' (Greek), 'the bourgeoisie.' (d) The translator has also to provide expressions for philosophical terms of very indefinite meaning in the more definite language of modern philosophy. And he must not allow discordant elements to enter into the work. For example, in translating Plato, it would equally be an anachronism to intrude on him the feeling and spirit of the Jewish or Christian Scriptures or the technical terms of the Hegelian or Darwinian philosophy.
(7) As no two words are precise equivalents (just as no two leaves of the forest are exactly similar), it is a mistaken attempt at precision always to translate the same Greek word by the same English word. There is no reason why in the New Testament (Greek) should always be rendered 'righteousness,' or (Greek) 'covenant.' In such cases the translator may be allowed to employ two words – sometimes when the two meanings occur in the same passage, varying them by an 'or' – e.g. (Greek), 'science' or 'knowledge,' (Greek), 'idea' or 'class,' (Greek), 'temperance' or 'prudence,' – at the point where the change of meaning occurs. If translations are intended not for the Greek scholar but for the general reader, their worst fault will be that they sacrifice the general effect and meaning to the over-precise rendering of words and forms of speech.
(8) There is no kind of literature in English which corresponds to the Greek Dialogue; nor is the English language easily adapted to it. The rapidity and abruptness of question and answer, the constant repetition of (Greek), etc., which Cicero avoided in Latin (de Amicit), the frequent occurrence of expletives, would, if reproduced in a translation, give offence to the reader. Greek has a freer and more frequent use of the Interrogative, and is of a more passionate and emotional character, and therefore lends itself with greater readiness to the dialogue form. Most of the so-called English Dialogues are but poor imitations of Plato, which fall very far short of the original. The breath of conversation, the subtle adjustment of question and answer, the lively play of fancy, the power of drawing characters, are wanting in them. But the Platonic dialogue is a drama as well as a dialogue, of which Socrates is the central figure, and there are lesser performers as well: – the insolence of Thrasymachus, the anger of Callicles and Anytus, the patronizing style of Protagoras, the self-consciousness of Prodicus and Hippias, are all part of the entertainment. To reproduce this living image the same sort of effort is required as in translating poetry. The language, too, is of a finer quality; the mere prose English is slow in lending itself to the form of question and answer, and so the ease of conversation is lost, and at the same time the dialectical precision with which the steps of the argument are drawn out is apt to be impaired.
II. In the Introductions to the Dialogues there have been added some essays on modern philosophy, and on political and social life. The chief subjects discussed in these are Utility, Communism, the Kantian and Hegelian philosophies, Psychology, and the Origin of Language. (There have been added also in the Third Edition remarks on other subjects. A list of the most important of these additions is given at the end of this Preface.)
Ancient and modern philosophy throw a light upon one another: but they should be compared, not confounded. Although the connexion