The Complete Works of Samuel Taylor Coleridge (Illustrated Edition). Samuel Taylor Coleridge
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but now that the German language has become more general, and the merit of this translation been appreciated, it has been reprinted with success.
Since the visit of these remarkable men to Germany, the taste for German literature has each year slowly increased, so as to make it almost appear that they have given the direction to this taste, which in England has caused a free inquiry into the writings of German authors, particularly of their poets and philosophers for the one class; and also into the interesting tales and stories to be found for the many who require such amusement.
The edition of Wallenstein, 1800, contains the following preface, which was afterwards abridged, but is here given as it was originally written; the first criticism on it was wholly made out of this preface, and these lines were quoted by the reviewer, in condemnation of the play and the translation, though it is well known that the critic was ignorant of German. The date of the MS. by Schiller is September 30th, 1799, the English is 1800. Coleridge indeed calls it a translation, but had it been verbatim, it would have required much longer time; take it however as we will, it displays wonderful powers; and as he noticed in a letter to a friend, it was executed in the prime of his life and vigour of his mind. Of the metre of this drama he spoke slightingly, and said according to his taste,
“it dragged, like a fly through a glue-pot. It was my intention,” he writes, “to have prefixed a life of Wallenstein to this translation; but I found that it must either have occupied a space wholly disproportionate to the nature of the publication, or have been merely a meagre catalogue of events narrated, not more fully than they already are in the play itself. The recent translation, likewise, of Schiller’s History of the Thirty Years’ War, diminished the motives thereto. In the translation, I have endeavoured to render my author literally, wherever I was not prevented by absolute differences of idiom; but I am conscious, that in two or three short passages, I have been guilty of dilating the original; and, from anxiety to give the full meaning, have weakened the force. In the metre I have availed myself of no other liberties, than those which Schiller had permitted to himself, except the occasional breaking up of the line, by the substitution of a trochee for an iambus; of which liberty, so frequent in our tragedies, I find no instance in these dramas.
The two Dramas, Piccolomini, or the first part of Wallenstein, and Wallenstein, are introduced in the original manuscript by a prelude in one act, entitled Wallenstein’s camp. This is written in rhyme, and in nine syllable verse, in the same lilting metre (if that expression may be permitted) with the second eclogue of Spencer’s Shepherd’s Calendar. This prelude possesses a sort of broad humour, and is not deficient in character, but to have translated it into prose, or into any other metre than that of the original, would have given a false idea, both of its style and purport; to have translated it into the same metre, would have been incompatible with a faithful adherence to the sense of the German, from the comparative poverty of our language in rhymes; and it would have been unadvisable, from the incongruity of those lax verses with the present state of the English public. Schiller’s intention seems to have been merely to have prepared his reader for the tragedies, by a lively picture of the laxity of discipline, and the mutinous disposition of Wallenstein’s soldiery. It is not necessary as a preliminary explanation. For these reasons it has been thought expedient not to translate it.
The admirers of Schiller, who have abstracted their idea of that author from the Robbers, and the Cabal and Love plays, in which the main interest is produced by the excitement of curiosity, and in which the curiosity is excited by terrible and extraordinary incident, will not have perused, without some portion of disappointment, the dramas which it has been my employment to translate. They should, however, reflect, that these are historical dramas, taken from a popular German history; that we must therefore judge of them in some measure with the feelings of Germans, or by analogy with the interest excited in us by similar dramas in our own language. Few, I trust, would be rash or ignorant enough, to compare Schiller with Shakspeare, yet, merely as illustration, I would say, that we should proceed to the perusal of Wallenstein, not from Lear or Othello, but from Richard the Second, or the three parts of Henry the Sixth. We scarcely expect rapidity in an historical drama; and many prolix speeches are pardoned from characters, whose names and actions have formed the most amusing tales of our early life. On the other hand, there exist in these plays more individual beauties, more passages the excellence of which will bear reflection than in the former productions of Schiller.
The description of the Astrological Tower, and the reflections of the young lover, which follow it, form in the original a fine poem, and my translation must have been wretched indeed, if it can have wholly overclouded the beauties of the scene in the first act of the first play, between Questenberg, Max. and Octavio Piccolomini.
If we except the scene of the setting sun in the Robbers, I know of no part in Schiller’s plays, which equals the whole of the first scene of the fifth act of the concluding play. It would be unbecoming in me to be more diffuse on this subject. A translator stands connected with the original author by a certain law of subordination, which makes it more decorous to point out excellencies than defects; indeed, he is not likely to be a fair judge of either. The pleasure or disgust from his own labour, will mingle with the feelings that arise from an after view of the original poem; and in the first perusal of a work in any foreign language, which we understand, we are apt to attribute to it more excellence than it really possesses, from our own pleasurable sense of difficulty overcome without effort. Translation of poetry into poetry is difficult, because the translator must give a brilliancy to his language without that warmth of original conception, from which such brilliancy would follow of its own accord. But the translator of a living author is encumbered with additional inconveniences. If he render his original faithfully, as to the ‘sense’ of each passage, he must necessarily destroy a considerable portion of the ‘spirit’; if he endeavour to give a work executed according to laws of ‘compensation’, he subjects himself to imputations of vanity, or misrepresentation. I thought it my duty to remain by the sense of my original, with as few exceptions as the nature of the language rendered possible.”
About this time, or soon after his return from Germany, the proprietor of the Morning Post, who was also the editor, engaged Coleridge to undertake the literary department. In this he promised to assist, provided the paper was conducted on fixed and announced principles, and that he should neither be requested nor obliged to deviate from them in favour of any party or any event. In consequence, that journal became, and for many years continued, ‘anti-ministerial, yet with a very qualified approbation of the opposition, and with far greater earnestness and zeal, both anti-jacobin and anti-gallican. As contributors to this paper, the editor had the assistance of Mr. Wordsworth, Mr. Southey, and Mr. Lamb. Mr. Southey, from his extreme activity and industry, with powers best suited for such employment, with a rapidity and punctuality which made him invaluable to the proprietor, was the largest contributor. The others not possessing the same qualifications, although extremely powerful in their way, were not of the same value to the proprietor.
To Coleridge, he continued liberal and kind, and Coleridge appreciated his talents; often has he been heard to say, if Mr. Stuart “knew as much of man as he does of men, he would be one of the first characters in Europe.” The world, and even that part of it, who either receive pleasure, or are benefited by the labours of literary men, often seem to forget how many there are who being compelled to work during the week for the provision of the week, are (if not possessed of much bodily strength) unfit to continue further mental exertions; nor can they find the leisure and repose necessary to produce any work of importance, though such efforts must always be found so much more congenial to the feelings of a man of genius. Whatever his enemies or his more envious friends may choose to have put forth, it was to him a most painful thought, particularly as he had made literature his profession, to have lived in vain. This feeling sometimes haunted him, and when the feelings are gloomily disposed, they often become in their turn depressing causes, which frequently ended in a deep and painful sigh, and a renewal of his laborious and inspiring thoughts as an antidote. The severest of his critics have not pretended to have found in his compositions triviality, or traces of a mind that shrank from the toil of thinking.
A respectable portion of literary talent will secure the success of a newspaper, provided that it impartially adheres “to a code of intelligible principles previously announced, and faithfully referred to in support