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BAYARD TAYLOR'S 
 TRANSLATION OF GOETHE'S FAUST 
 
 KY 
 
 JULIANA HASKELL, A.M. 
 
 Submitted in Partial Fulfilment of the Requirements for 
 
 THE Degree of Doctor of Philosophy, in the Faculty 
 
 OF Philosophy, Columbia University 
 
 H^ 
 
 NEW YORK 
 1908 
 
BAYARD TAYLOR'S 
 TRANSLATION OF GOETHE'S FAUST 
 
Digitized by the Internet Archive 
 
 in 2008 with funding from 
 
 IVIicrosoft Corporation 
 
 http://www.archive.org/details/bayardtaylorstraOOhaskrich 
 
BAYARD TAYLOR'S 
 TRANSLATION OF GOETHE'S FAUST 
 
 BY 
 
 JULIANA HASKELL, A.M. 
 
 Submitted in Partial Fulfilment of the Requirements for 
 
 THE Degree of Doctor of Philosophy, in the Faculty 
 
 OF Philosophy, Columbia University 
 
 OF THE 
 
 t^NIVERSITY 
 
 OF 
 
 s£lk'FORN\^ 
 
 NEW YORK 
 1908 
 
Copjnright, 1908 
 By The Columbia University Press 
 
 Printed from type April, 1908 
 
 PRESS OF 
 
 The new Era printin« compant 
 Lancaster. Pa. 
 
TO 
 
 SELINA MILLON 
 
 AND 
 
 WILLIAM H. SHIELDS 
 
 173667 
 
NOTE 
 
 The criticism of a poetic translation is difficult because the 
 critic will inevitably be tempted to compare it with an ideal 
 which is perhaps forever unattainable. This seems unjust 
 to the translator, because all translation of poetry must be 
 more or less a makeshift. But even such a comparison, if it 
 be scholarly and not finical, has its value — especially when, 
 as in the case of Taylor's version of Faust, a definite and 
 rigid theory of translation is involved. The problem attacked 
 by the author of this study is not to decide whether Taylor's 
 version is or is not better than any other, or whether it is 
 or is not the best we are ever likely to get in the exact meters 
 of the original. Her questions are rather : Is it poetry ? Does 
 it do the work of poetry when read by one somewhat sensitive 
 to the traditions of English verse? How much of Goethe's 
 poetry has been sacrificed to a theory? It seems to me that 
 Mrs. Haskell's searching study of these questions is interesting 
 and valuable. 
 
 Calvin Thomas 
 
 Columbia University, January, 1908. 
 
 Vll 
 
PREFACE 
 
 Professor Calvin Thomas suggested to me the theme of this 
 dissertation. I am likewise indebted to Professor Thomas for 
 good counsel and helpful criticism. Courtesies, which have 
 materially furthered my work, were shown me by Mrs. William 
 H. Carpenter, Mrs. Bayard Taylor, Professor Emeritus Edward 
 M. Brown of Cincinnati University, Professor William H. 
 Carpenter of Columbia University, Mr. George W. Harris of 
 Cornell University, Professor Emeritus James M. Hart of 
 Cornell University, Mr. Henry S. Haskell, Professor William 
 A. Hervey of Columbia University, Professor Waterman T. 
 Hewett of Cornell University, Mr. Leonard Mackall and Mr. 
 W. R. Price. 
 
 IX 
 
A Roman followed by an Arabic numeral indicates invariably 
 the one-volume edition of Taylor's translation of " Faust," pub- 
 lished by Houghton, Mifflin and Company, Boston and New 
 York, bearing no date upon its title page, but copyrighted 1870 
 and 1898; 1. or 11. followed by an Arabic numeral refers to 
 the edition of Goethe's " Faust " edited by Professor Calvin 
 Thomas, who follows the Weimar edition. 
 
CONTENTS 
 Introduction i 
 
 CHAPTER I 
 Taylor's Equipment for His Task , 4 
 
 CHAPTER II 
 Concerning Bayard Taylor's Theory of Translation 19 
 
 CHAPTER III 
 The English of Taylor's Translation 57 
 
 CHAPTER IV 
 Concerning the Poetic Worth of Taylor's Trans- 
 lation 74 
 
 Bibliography 90 
 
INTRODUCTION 
 
 It is the fortune of some books to acquire, early in their 
 career, a certain reputation, which duly formulated, attaches 
 itself to them, and becomes almost as much a part of them as 
 their very titles. 
 
 Provided a book is consulted for isolated passages, rather 
 than read as a whole, or provided it is praised and not read at 
 all (and that has been the fate of many a book both before and 
 since Lessing's famous epigram on Klopstock's works), its 
 formulated reputation readily becomes traditional and main- 
 tains itself through generations unchallenged. 
 
 Thus it has become customary to follow up all mention of 
 Taylor's translation of " Faust " with an obligate corollary 
 relative to its excellence. The public has apparently agreed 
 to accept Taylor's own estimate of that work, and to regard 
 it as " the English ' Faust,' which will henceforth be the only 
 one."^ 
 
 It is the purpose of this dissertation to inquire into the 
 validity of the enviable reputation which Taylor's " Faust " 
 has now borne for something over one generation. 
 
 In order to establish at the outset a point de repere, we may 
 seek to determine for whom Taylor translated the " Faust." 
 He did not translate it for the native German, who will read 
 naturally and properly enough his " Faust " in the original. 
 He did not translate it for the English-speaking person, who 
 has an accurate and ready knowledge of German. He, too, 
 will prefer his " Faust " precisely as Goethe wrote it. Taylor 
 very evidently translated " Faust " for that English-speaking 
 person who has sufficient culture to desire to become acquainted 
 with " Faust," but who is cut off from all intelligent enjoy- 
 ment of the original because he knows no German. 
 
 For the purposes of this cultured English-speaking person 
 who has no command of German, and who nevertheless desires 
 
 * Cf. Life and Letters, p. 551. 
 2 1 
 
to know " Faust," it is essential that the translator of " Faust " 
 shall write normal English, that he shall represent Goethe 
 fairly, and, if he determines upon a metrical translation, that 
 he shall invest his rendering with a modicum of poetry, of 
 which meter and rhythm are merely the outer garb. Of these 
 three requirements the first two are imperative, and to my mind 
 the third is equally imperative, provided a metrical rendering 
 is determined upon. Taylor himself, as will be seen by con- 
 sulting the prefaces to the First and Second Part of his 
 " Faust," believed the retention of the original metrical form 
 to be a matter of paramount importance. Mr. Stedman has, I 
 think, a juster view of relative values. He believes that, in 
 weighing one against the other, the various losses entailed by 
 translation, one can best afford to sacrifice the metrical ar- 
 rangement.^ 
 
 Madame von Holtzendorff of Gotha to the contrary notwith- 
 standing, Taylor's translation is not " the perfect equal of the 
 original."^ But I should not think of quarreling with it on 
 that account. Grillparzer is quite right, when he says (as 
 Herder said before him) that poetry cannot be translated.* 
 Imperfection is characteristic of all translation, and more 
 ought not to be exacted of Taylor's work than may reasonably 
 be demanded of any metrical translation of " Faust." It shall 
 be composed in normal English, it shall represent Goethe fairly, 
 and poetry shall be the sole rcdson d'etre of its rimes and 
 rhythms. 
 
 In an eclectic translation of Goethe's " Faust " certain por- 
 tions of Taylor's work would no doubt be preserved, for exam- 
 ple, perhaps several of the stanzas of the " Song of the Arch- 
 angels," the entire ballad of the " King of Thule " (although 
 this to be sure is at least fifty per cent, the property of Brooks), 
 and the lines : 
 
 And in waves of silver, drifting 
 
 On to harvest, rolls the corn. (II, 5) 
 
 ' Cf. E. C. Stedman, Poets of America, p. 210, 
 ' Cf. Life and Letters, p. 562. 
 
 * Cf. Grillparzers s'dmtliche Werke, edited by August Sauer, v. 16, p. 46, 
 and V. 19, p. 59. 
 
The deeps with heavenly light are penetrated; 
 The boughs, refreshed, lift up their leafy shimmer 
 From gulfs of air where sleepily they waited; (II, 6) 
 
 and 
 
 When Nature in herself her being founded. 
 
 Complete and perfect then the globe she rounded. 
 
 Glad of the summits and the gorges deep. 
 
 Set rock to rock, and mountain steep to steep. 
 
 The hills with easy outlines downward moulded, 
 
 Till gently from their feet the vales unfolded ! (II, 230) 
 
 However, in my opinion, the translation as a whole does not 
 meet the demands which may reasonably be made upon it, and 
 it will be my endeavor to show precisely wherein I think it 
 falls short. 
 
CHAPTER I 
 Taylor's Equipment for His Task 
 
 Bayard Taylor's translation of " Faust " was published on 
 December 14, 1870.^ In honor of the occasion, James T. 
 Fields, the publisher, gave a dinner-party, to which certain of 
 the more notable American men of letters were bidden. John 
 G. Whittier found himself unable to attend this dinner-party, 
 and declined the hospitality of Mr. and Mrs. Fields in a 
 gracious note, in which he said, " It seems to me that he 
 (i. e., Taylor) is precisely the man of all others to do 
 it" {i. e., translate " Faust ").2 To establish Whittier's state- 
 ment, that Taylor was the man of all men to translate " Faust," 
 would require an interminable application of the process of 
 exclusion. A less ambitious statement to the effect that Taylor 
 was especially equipped for his task admits of practical dis- 
 cussion. 
 
 Whittier did not ask his host and hostess to accept his un- 
 supported pronouncement. He gave his reasons for the faith 
 that was in him. After jocosely deprecating the fact that 
 Taylor labored "under the misfortune of not having been 
 bom in sight of Boston meeting-house," he continues, " In the 
 first place ... he inherits from his ancestry the Quaker gift 
 of spiritual appreciation and recognition, the belief not only 
 in his own revelations, but in those of others. In the second 
 place, he is a poet himself. Thirdly, he has studied man and 
 nature in all lands and in all their phases, and fourthly, he 
 has brought himself into the closest possible association with 
 the culture and sentiment, the intellect and the heart of the 
 Germany of Goethe, by bringing under his roof-tree at Cedar- 
 croft an estimable countrywoman of Charlotte and Margaret, 
 Natalie and Dorothea."^ 
 
 ^ Cf. Life and Letters, p. 542. 
 ' Cf. Life and Letters, p. 543. 
 • Cf. Life and Letters, v. II, p. 543 f. 
 
 4 
 
Mrs. Taylor and Mr. Scudder have set forth their reasons 
 too for "the real power which enabled him (Taylor) to cope 
 with the profoundest difficulty in translating ' Faust.' "* Their 
 reasons, briefly summarized, are: (i) He was a poet. (2) He 
 was ripe for Goethe's thought. (3) He was in a creative 
 mood, "constructing part by part a great poem which lay 
 alongside of * Faust,' singularly harmonious with the original."^ 
 (4) "He had a remarkable memory ..." which "was of 
 great value to him in his work of translation, since it released 
 his mind from the necessity of a fatiguing hunt after par- 
 ticulars, and enabled him to hold steadily before his imagina- 
 tion the large thought of the verse, to make comparisons 
 with instantaneous readiness, and to move freely and unem- 
 barrassed through his material."® 
 
 It is possible to phrase certain of Taylor's qualifications for 
 his task with a shade more of exactitude. I should find 
 Taylor's fitness in his command of the technique of poetry 
 rather than in the fact that he was a poet. To write Bayard 
 Taylor a poet requires so many qualifying appendages; nor 
 is there any qualifying formula which is everywhere satis- 
 factory. Taylor's good friend, R. H. Stoddard, says Taylor 
 was not a great poet.*^ Nor was he even a leading poet in a 
 country, which, according to Mr. Edmund Gosse, has no great 
 poets.® He is not of the favored four (Longfellow, Bryant, 
 Emerson and Poe) whose merits Mr. Gosse believes may be 
 " discussed in connection with the highest honors in the art." 
 Even when Professor Curtis Hidden Page extends the number 
 of the chief American poets to nine,^ still Bayard Taylor is 
 not of them. Mr. Walter Lewin, an English critic, grudgingly 
 allows Taylor's poethood, but with qualifications, saying, "he 
 
 * Cf. Life and Letters, v. II, p. 556. 
 
 ' Mrs. Taylor and Mr. Scudder refer doubtless to the " Masque of the 
 Gods" published in 1872. 
 
 ® Cf. Life and Letters, v. II, pp. 556 ff. 
 
 ' Cf. North American Review, v. 130, p. 98: Bayard Taylor's Poetic 
 Works; "It will not do to say that he was a great poet, for great poets 
 are rare." 
 
 ' Cf. Forum, v. VI, pp. 176-186. "Has America produced a poet?" 
 
 • Cf. The Chief American Poets, by Curtis Hidden Page, Ph.D., Boston, 
 New York, etc., 1905. 
 
6 
 
 was something else in the first place, and a poet only in the 
 second place. Readers of this biography^" will be impressed 
 more by the business talent he displayed than by any other 
 single characteristic. He knew prices and values in the literary 
 market as well as any broker knows what com and cotton are 
 worth. . . . His letters are not the letters of a poet, but of a 
 man of the world ... he postponed poetry to the acquisition 
 of wealth, giving the best and, as it proved, nearly all the 
 years of his life to the latter. . . . If he had been a poet first 
 of all, he could not have treated poetry as a commodity to be 
 laid by until — other requirements being satisfied — there should 
 be leisure to enjoy it ... as a man of the world first, and as 
 a poet second, Bayard Taylor must be regarded."^^ Finally 
 a nameless critic, otherwise kindly enough disposed, comments 
 on poems which Stoddard esteemed " superior to anything of 
 their kind in the English language,"^^ and states (provided 
 poet a nascitur non fit still prevail) that he is not certain that 
 Bayard Taylor is a poet at all.^^ 
 
 Even if one incline to believe with Mr. Howells^* and with 
 
 " Mr. Lewin is reviewing the Life and Letters by Mrs. Taylor and Mr. 
 Scudder. 
 
 " Cf. Academy, v. XXVI, p. 299. 
 
 " Cf. New York Tribune, December 20, 1878. 
 
 " Cf. North American Review, review of Poems of the Orient, v. LXXX, 
 p. 266. " Mr. Taylor's volume contains a large amount of healthy, manly 
 sentiment, such as does credit to his mental and moral nature ; and yet 
 we a little doubt whether he is a born poet." Cf. also National Quarterly 
 Review, December, 1862, pp. 176 ff., review of the Poet's Journal: "We 
 shall say no more on the propriety or impropriety of writing such a 
 * Journal,' assuming the poetry to be real ; but we think that, although 
 Plato would exclude the poets from his model Republic, Mr. Taylor would 
 have little to fear; for he would readily pass muster as being very 
 nearly, if not entirely, innocent of ' the sacred fire that leads astray.' 
 To be frank we cannot see that Mr. Taylor has any just claim to the title 
 he assumes, let us apply what test we may to his efforts. ' Celui-la seul 
 est poete,' says Laharpe, ' qui sait dire de belles et bonnes choses, non 
 seulement sans que la mesure et la rime leur otent rien, mais meme de 
 maniere que la mesure et la rime leur donnent plus d'effet et d'eclat.' " 
 
 " Cf. Harper's Weekly, v. 40, p. 294, review of Smyth's " Bayard 
 Taylor " : " . . , his poetry remains. I do not mean that it all remains 
 or will remain ; but I do mean that in any story of our literature his 
 place as a poet is secure. His place as a poet is secure in the hearts of 
 all lovers of poetry, by at least virtue of three or four pieces which are 
 
Mr. Stedman/^ that Taylor really was a poet, the degree of 
 Taylor's poetic gift could hardly be established without re- 
 course to Professor W. P. Trent's sliding scale/^ an ingenious 
 and benevolent, but in the present case not wholly satisfactory 
 method of disposing those men whose work is neither first 
 nor perhaps second rate, but who must still be reckoned as 
 poets. 
 
 There would, I believe, be unanimity in excluding Bayard 
 Taylor peremptorily from Professor Trent's first and second 
 classes. It is conceded that he is neither " supreme " nor yet 
 " very great." But when it comes to determining in which of 
 the three remaining classes he is to be ranged, there are many 
 minds. Some maintain he was " great " ; others grant he was 
 " important " ; Professor Trent,^^ for example, considers him 
 " minor " ; and there are possibly some few ( Professor Barrett 
 WendelP® may be of them) who insist that Bayard Taylor 
 belongs to the body which Professor Trent declines to classify, 
 " authors who won applause for a day but were soon forgotten 
 and need not be revived." 
 
 most distinctly and entirely his own." Of this latter point Professor 
 Barrett Wendell is not so sure. Cf. A Literary History of America, 
 p. 455 : " From boyhood Taylor had travelled, and had written, and had 
 read poetry, and had tried to be a poet; and he certainly made something 
 which looks poetic. As surely, however, as his verse never touched the 
 popular heart, so his supreme literary effort never much appealed to those 
 who seriously love poetry." 
 
 " Cf. Scribner's Monthly, v. 19, p. 81: "We find ourselves observing a 
 true poet." In Poets of America, p. 396, Mr. Stedman modifies this to : 
 " We find ourselves observing one whose ideal was higher than anything 
 which his writings, abundant as they are, express for us, and one who none 
 the less has claims to be estimated in some degree by that ideal." 
 
 " Cf. International Monthly, v. 5, p. 505, " The Question of ' Greatness 
 in Literature.' " 
 
 " Cf . Trent : American Literature, p. 472. " Abler men than Bayard 
 Taylor have not in the end obtained so high a place among minor poets 
 as seems likely to be his." 
 
 " Cf. Barrett Wendell : A Literary History of America, pp. 455-458 ; 
 " Early in middle life Bayard Taylor had unquestionably attained such 
 literary eminence as is involved in having one's name generally known. 
 The limits of this eminence, however, appeared even while he was alive ; 
 if you asked people what he had written, the chances were they could not 
 tell. . . . His ambition was to make a great poem. In view of this there 
 is something pathetic in the list of forgotten titles he has left us." 
 
8 
 
 It seems better, therefore, to place our emphasis upon a 
 point concerning which more concord obtains among competent 
 persons. Taylor's technical skill as a maker of verse has been 
 very generally acknowledged. Mr. Howells commends the 
 "technical perfection "^^ of Taylor's verse. Mr. Congdon 
 doubts "if in any of his poems a slovenly line or an intolerable 
 rhyme can be found."^* Professor Trent says, " He was 
 almost never careless in his workmanship."^^ Onderdonk 
 asserts that " none of our verse writers, aside from the Cam- 
 bridge poet (i. e., Longfellow) has given so much attention to 
 form."22 Stoddard believed that deficiency of technical skill 
 had never been charged against Taylor.^^ Indeed, it is pos- 
 sible that the poems of Taylor suffered from an excess of art. 
 Mr. Stedman regards " his facility " as " dangerous indeed. "2* 
 And Stoddard wrote, "If he sinned in his poetic practice, it 
 was in the direction of art, of which he possessed too much 
 rather than too little."^*^ But the point which we are eager to 
 make has been best put by Mr. A. H. Smyth, who speaks of 
 Taylor as a " meister-singer, — a guild-singer, — a man of talent, 
 and master of the mechanics of his craft."^® 
 
 Taylor was conscious apparently of his cunning, and de- 
 lighted in poetical tottrs de force — the greatest of them all 
 being " Faust." He tried his hand at almost every form of 
 
 " Cf. review of Home Pastorals, Ballads and Lyrics, Atlantic, v. 
 XXXVII, p. 108. 
 
 " Cf. C. T. Congdon, Reminiscences of a Journalist, Boston, 1880, p. 244. 
 Mr. Congdon was over sanguine, as will be seen in the event. 
 
 ^ Cf. Trent, American Literature, p. 472. 
 
 ^ Cf. Onderdonk, History of American Verse, p. 235. 
 
 ^ Cf. North American Review, v. 130, p. 98: "Bayard Taylor's Poetical 
 Works " ; Stoddard's carelessness (hardly that of the type-setter) makes 
 him say, " Technical skill in which Mr. Joyce, and Mr. Arnold in a less 
 degree, are deficient, was never charged against Mr. Bayard Taylor " — 
 something quite the reverse of course, of that which Stoddard was at- 
 tempting to say. 
 
 ** Scribner's Monthly, " Bayard Taylor. His Poetry and Literary Career," 
 V. XIX, pp. 81 ff. 
 
 " Cf. North American Review, v. 130, p. 98. 
 
 ^ Cf. Smyth, Bayard Taylor, p. 273. 
 
verse, lyric, epic, idyllic, dramatic.^^ His " Prince Deukalion," 
 approved by Mr. G. P. Lathrop as a "profitable study for 
 metrical artists every where,"^^ exhibits an "excess of rhythmi- 
 cal beauty,"^^ vying with " Faust " itself in metrical variety. 
 Taylor took keen pleasure in employing difficult and unusual 
 meters.^^ He could reproduce the feminine and dactylic rimes 
 of " Faust," " which have been for the most part omitted by 
 all metrical translators except Mr. Brooks."^^ Within the 
 compass of his " Picture of St. John " he produced " more than 
 seventy variations in the order of rhyme."^^ He indulged to 
 the point of mannerism in those things which make up the 
 outward appurtenances and pomp of poetry. Of Taylor's very 
 first book, Mr. Stedman said : " One quality is apparent which 
 afterward marked his verse — a peculiar sonorousness, especially 
 in the use of resonant proper nouns, the names of historic per- 
 sons and places."^^ It would seem, therefore, that we are 
 abundantly cautious when we write Bayard Taylor a clever 
 craftsman. 
 
 The reminiscent note discoverable in Taylor's poetry again 
 suggests a special qualification as a translator. This reminis- 
 cent note is found not alone in the minority poems, where we 
 
 "" Cf. Studies in Poetry and Criticism, London, 1905, p. 58 £., by John 
 Churton Collins : " In serious poetry, there was scarcely any note which 
 he did not strike. Studies from the Greek, studies in Oriental life, studies 
 in Italian life, studies in Pennsylvanian, in Calif ornian, in Norse life: 
 lyrics in every key and in almost every measure, Pindaric, Hafizian, 
 Shelleyan ; threnody and dithyramb, love-song and war-song, state-song 
 and ballad : narratives and idylls of equal range and variety : drama, ideal, 
 realistic, lyrical." 
 
 ^ Cf. Atlantic, v. 43, p. 117. 
 
 " Cf. Scribner's Monthly, v. 19, p. 266. 
 
 ^ Cf. Faust, II, pref., p. xiv : " I am not aware that either the iambic 
 trimeter or the trochaic tetrameter has ever been introduced into English 
 verse." Cf. also Picture of St. John (1866), Introductory Note, p. iv: 
 " I know of but one instance in which the experiment (t. e., employing the 
 ottava rima, adhering rigidly to the measure and limit of the stanza, yet 
 allowing freedom of rhyme within that limit) has been even partially 
 tried— the * Oberon ' of Wieland." 
 
 '^ Cf. Faust, I, pref., p. xvi. 
 
 ^^ Cf. Picture of St. John, edition of 1866, Introductory Note, p. vi. 
 
 " Cf. Scribner's Monthly, v. 19, p. 81. 
 
10 
 
 should on the whole expect it,^* but throughout Taylor's 
 poems.^^ It is sometimes a matter of epithet.^® Thus his 
 
 ^ Cf. Scribner's Monthly, v. 19, p. 81 : " Byron, Scott, Moore, Mrs. 
 Hemans, Bryant, are echoed here and there," (t. e., in Ximena, 1844). 
 
 ^ Cf. Academy, v. 9, p. 95, review of Home Pastorals, Ballads, and 
 Lyrics: "It is not so easy to give an idea of the subject of these Pastorals, 
 Mr. Bayard Taylor goes into the country (apparently at various times), 
 and * moralizes at large.' He sees a naked Irishman, and improves him 
 promptly. He alludes frequently to his travels, and at last comes to an 
 end rather piously. . . . Ballads and Lyrics are, in one respect, rather 
 more satisfactory than Home Pastorals, in that it is often possible to dis- 
 cover their import with a fair amount of labour and luck. It is also a 
 possible, and indeed an unavoidable, discovery that Mr. Bayard Taylor 
 has evidently bestowed on the poets (his brother-poets, we suppose he 
 would say) of England and America a careful and not infructuous perusal. 
 The already mentioned descant upon the naked Irishman would assuredly 
 never have been written but for certain pages in Leaves of Grass. And 
 we must take leave to doubt whether ' The Old Pennsylvania Farmer ' does 
 not owe his existence to a certain Lincolnshire prototype ; whether * In 
 My Vineyard ' has not to pay copyright to ' Amphion ' ; and whether 
 * Iris ' would not do well to annoimce herself as a bastard of the ' Cloud.' 
 Furthermore we think that ' Implora Pace ' might as well acknowledge 
 indebtedness to part of Mr. Arnold's ' Switzerland,' and that ' Run Wild ' 
 exhibits signs of something more than admiration of the * Haunted House.' 
 Finally, * Canopus ' shows, if it shows nothing else, that Mr. Taylor is a 
 diligent and appreciative student of the * Dream of Fair Women.' That 
 these likenesses do not exist in our imagination, any qualified student of 
 poetry will perceive as soon as he opens the book, and we cannot help 
 thinking it is a pity. The pity is all the more pitiful because Mr. Taylor, 
 with many short-comings (what on earth makes him rhyme ' weather ' with 
 ' ether,' and commit the horrible atrocity of making the second syllable of 
 adytum long?) has certain mechanical capabilities about him, and is by no 
 means inorganic. ... It is indeed a pity that an instrument of such 
 excellent tone and range should not be at the disposal of a truer artist, 
 and should not discourse more original music." 
 
 ^* Cf. Life and Letters, v. II, p. 685 : James T. Fields, the publisher, took 
 Taylor to task for appropriating in his " National Ode " the " feather- 
 cinctured " of Gray. Taylor replied, " I have tired my brain to no purpose 
 about the epithet. These are the lines : 
 
 No more a Chieftainess, with wampum-zone 
 And feather-cinctured brow. 
 Now, I can't say either ' feather-girdled ' or ' feather-belted,' after using 
 zone. There only remains * feather-banded,' which sounds flat and 
 millinerish. Gray says 'feather-cinctured chiefs,' referring to a feather 
 petticoat, hanging from the waist; and in the same line he steals 'dusky 
 loves' from Pope! Why shouldn't I take what, after all, is probably not 
 Gray's own? Is it worth while to be tender towards such an intolerant 
 old thief as he? As for what may be said of me, I don't regard it at all. 
 
11 
 
 "trumpet snarling "^^ savors of Keats,^^ his "multitudinous 
 . . . Ocean "^^ of Shakspere.*^ Again it is a matter of 
 cadence. 
 
 " Ernest will come ! " the early sunbeams cried ; 
 
 " Will come ! " was breathed through all the woodlands wide ; 
 
 " Will come, will come ! " said cloud, and brook, and bird ; 
 
 And when the hollow roll of wheels was heard 
 
 Across the bridge, it thundered, " He is near ! " 
 
 And then my heart made answer, " He is here ! " " 
 
 straightway recalls Tennyson.*^ Sometimes Taylor's theme 
 itself is reminiscent. " The Soldier and the Pard " has more 
 than one point of contact with " The Ancient Mariner " ; the 
 " Ode to Indolence "*^ has much in common with the song of 
 the " Lotos Eaters " ; and the lines 
 
 " Two spirits dwell in us ; one chaste and pale, 
 A still recluse, whose garments know no stain, etc." ** 
 
 inevitably conjure up Goethe.*^ Finally there are strange 
 double echoes, as when 
 
 " Thy soul is lonely as a star. 
 When all its fellows muffled are, — " " 
 
 I swear to you, I never thought of Gray till you mentioned the fact. The 
 adjective came of itself and therefore insists on staying. There is no poet 
 living, or who ever has lived, who does not occasionally take a marked 
 word from another. Even Goethe took Schiller's Donnergang, and got 
 all the credit of it, until I first pointed out where it came from. Tennyson 
 is full of such use, and so is anybody you can name. Give me an equally 
 good epithet, and I'll burn incense under your photograph ! " Professor 
 Calvin Thomas has pointed out to me that " Donnergang " really belongs 
 to Klopstock. 
 
 " Cf. The Test, stanza I. 
 
 ** Cf. The Eve of St, Agnes, stanza IV. 
 
 '» Cf. Faust, II, p. 145, 1. 5. 
 
 *» Cf. Macbeth, Act II, Sc. 2. 
 
 ** Cf. The Poet's Journal, First Evening. 
 
 *^ Cf. Maud, XXII, stanza X. 
 
 *^ This poem, it is only fair to state, is omitted in the definitive ed. of 
 1902. Taylor's poem " The Summer Camp " smacks similarly of the 
 "Lotos Eaters"; cf. Putnam's Magazine, v. VII, p. 109: "His (i. e.. 
 Bayard Taylor's) fine poem of the * Summer Camp ' would have been finer 
 than it is, had he not happened to think of the ' Lotos-Eaters.' " 
 
 ** Cf. Picture of St. John, The Artist, stanza XXXV. 
 
 «Cf. 1. 1 1 12 ff. 
 
 *• Cf, Taylor's Serapion. 
 
12 
 
 suggests at once Wordsworth's " I wandered lonely as a cloud," 
 and the same poet's " Fair as a star when only one is shining 
 in the sky." Taylor himself was not unconscious of this remi- 
 niscent note, for he once wrote, " Every author is familiar with 
 the insidious way in which old phrases or images, which have 
 preserved themselves in the mind but forgotten their origin, 
 will quietly slip into places when the like of them is needed."*^ 
 More than this, Taylor was constantly frankly and avowedly 
 imitating other poets. The divinity of his early days was 
 Shelley,*^ " from whose weird and ethereal influence Taylor 
 never quite freed himself, nor desired to free himself, until 
 his dying day."*^ Even the "Bedouin Song," which antholo- 
 gists have made us regard as peculiarly Taylor's own, shows 
 strongly the influence of Shelley, although in token of such 
 influence I would quote the second stanza rather than the first 
 stanza, as Professor Beers does.*^^ As early as 1848^^ Taylor 
 commenced to imitate the work of other poets as a sort of intel- 
 lectual sport, in which Stoddard and Fitz James O'Brien 
 shared. "Fitz James O'Brien," says Stoddard, "was a fre- 
 quent guest, and an eager partaker of our merriment, which 
 somehow resolved itself into the writing of burlesque poems. 
 We sat around a table, and whenever the whim seized us, 
 which was often enough, we each wrote down themes on little 
 pieces of paper, and putting them into a hat or a box we drew 
 out one at random, and then scribbled away for dear life. We 
 put no restriction upon ourselves ; we could be grave, or gay, or 
 idiotic even, but we must be rapid, for half the fun was in 
 noting who first sang out, ' Finished ! ' It was a neck-and- 
 neck race between Bayard Taylor and Fitz James O'Brien, 
 who divided the honors pretty equally, and whose verses, I am 
 compelled to admit, were generally better than my own. 
 
 " Cf. Essays and Notes, Tennyson, p. 22. 
 
 **Cf. Atlantic, v. XLIII, pp. 242 ff. Reminiscences of Bayard Taylor 
 by R. H. Stoddard. Cf. also Bayard Taylor's Poems, Household Edition 
 (1902), p. 213, "Christmas Sonnets, To R. H. S.," "I Shelley's mantle 
 wore, you that of Keats." 
 
 " Cf. Scribner's Monthly, v. XIX, pp. 81 ff. 
 
 •*Cf. Beers, Initial Studies in American Literature, p. 172. 
 
 "*Cf. Life and Letters, v. I, p. 132. 
 
13 
 
 Bayard Taylor was very dexterous in seizing the salient points 
 of the poets we girded at, and was as happy as a child when 
 his burlesques were successful."^^ 
 
 This sort of poetic diversion Bayard Taylor seems never to 
 have dropped. At any rate, it was cultivated at the Sunday 
 soirees of the Taylors during the winter of 1863-1864.^^ The 
 public first had an opportunity to applaud Taylor's cleverness 
 at imitation, when the " Battle of the Bards " appeared in the 
 Tribune.^*' Altered and amplified the " Battle of the Bards " 
 was metamorphosed into the anonymous " Echo Club " of the 
 Atlantic (1872) and the authorship was avowed when the 
 "Echo Club" came out in book form in 1876. 
 
 It is a pity, I think, that we Americans assume so conde- 
 scending an attitude toward works of humor, that we persist 
 in regarding them as essentially ephemeral, and relegate them 
 — anywhere outside of literature. Something of this national 
 condescension crops out, when Professor Trent says, " It is 
 pathetic to find him (i. e., Bayard Taylor) . . . publishing 
 parodies on popular poets."^^ It happens, however, that the 
 " Echo Club," the publishing of which Professor Trent finds 
 so pathetic, is esteemed by Mr. Howells as " the best parodies 
 ever written,"**® in which opinion he is supported by Robert 
 Browning.**^ Unfortunately Professor Trent has the reading 
 public with him. The " Echo Club " fell flat, when published 
 anonymously in the Atlantic. It was received with indiifer- 
 
 " Cf. Atlantic, v. XLIII, p. 242. 
 
 ^ Cf. Aus Zwei Weltteilen, p. 108 ; " Wir waren die ersten, die es wagten, 
 am ' Sabbat ' ein ' At Home ' zu haben. ... An diesen Abenden pflegten 
 die ' Diversionen,' denen Bayard Taylor spater im ' Echoklub ' feste 
 Gestalt verlieh, eine geist- und humor-spriihende Unterhaltung zu 
 gewahren." 
 
 " Cf. Aus Zwei Weltteilen, p. 159. 
 
 " Cf. Trent, American Literature, p. 470- 
 
 "Cf. Atlantic, January, 1877, P- 92; review of "Echo Club." 
 
 " Cf. Life and Letters, v. II, p. 620 : Taylor writes, " Story told me that 
 Browning sent him the * Echo Club ' last summer, with a note saying it 
 was the best thing of the kind he had ever seen, and that if he had found 
 the imitations of himself in a volume of his poems he would have believed 
 that he actually wrote them ! " 
 
u 
 
 ence when it appeared in book form^^ and it is now quite for- 
 gotten. If we would take our humor more seriously, as the 
 English do, we have in the " Echo Club " a classic in its kind, 
 with which to confront confidently the " Bab Ballads," or any 
 of the productions of Edward Lear, Charles Stuart Calverly, 
 or Charles Lutwidge Dodgson. In my estimation the " Echo 
 Club " is the best of the works of Bayard Taylor, the only one 
 of which one may speak with almost^® unqualified praise. 
 
 We are to ascribe, I believe, the reminiscent note in Taylor's 
 poems, and the brilliancy of his parodies in part to his abnor- 
 mally retentive memory,^** in part to that skill in technique, 
 which apprehended and reproduced with consummate ease the 
 idiosyncrasies of others, in part, thinks a writer in the " Ency- 
 clopaedia Britannica," to Taylor's lyrical faculty.®^ 
 
 ^ Cf. Life and Letters, v. II, p. 690 : " . . . . it was worse than irony 
 to him that so clever and skillful a bit of work (i. e., the " Echo Club ") 
 should have fallen upon an apathetic public." 
 
 ^ I say " almost " because I think Mr. Howells is right when he says : 
 " We never thought the machinery (i. e., the prose in which the parodies 
 are embedded) of The Echo Club a very fortunate conception. . . . 
 The comment is well enough, but the critical analysis of the authors 
 parodied is not of unusual fineness, and too much of the talk consists of 
 needless apology for taking the liberty to travesty, and of protest that no 
 harm is meant." Atlantic, January, 1877, P« 92. Mr. Stedman thinks 
 (or thought) otherwise. He says : " So good are its (i. e., the " Echo 
 Club ") imitations of modern poets that this book takes rank with ' Re- 
 jected Addresses,' — so good, in truth, that upon reading the prose dialogue 
 which connects them, we are not surprised to find it made up of some 
 of the most wholesome, kind, and alert criticism that has appeared in 
 recent times." Scribner's Monthly, v. XIX, pp. 266 if. It is to be noted 
 that when Mr. Stedman came to write his chapter on Bayard Taylor in 
 Poets of America, which is based often verbatim upon the earlier article 
 in Scribner's Monthly, he omits the passage just quoted. 
 
 "* Cf. Lippincott, August, 1879, p. 209, H. H. Boyesen : "Reminiscences 
 of Bayard Taylor " : "I have frequently heard Mr. Taylor complain that his 
 memory was an inconvenience to him. He would read by chance some 
 absurd or absolutely colorless verse, and it would continue to haunt him 
 for days. One single reading sometimes sufficed to fix a poem indelibly 
 in his mind. The first part of Faust I verily believe he could repeat from 
 beginning to end. . . . Even the second part, with its evasive and im- 
 palpable meanings, he had partly committed to memory ; or, rather, it had, 
 without any effort of his own, committed itself to his memory." 
 
 ^ Cf. Britannica, sub voce Taylor, Bayard ; " He had, from the earliest 
 period at which he began to compose, a distinct lyrical faculty: so keen 
 indeed was his ear that he became too insistently haunted by the music 
 of others." 
 
15 
 
 Undoubtedly Bayard Taylor's excellent knowledge of Ger- 
 man — a language he spoke with ever-increasing ease from his 
 twenty-first year on®^ — equipped him in no slight degree to 
 translate " Faust." An equally important asset (if not the 
 most important of all) in the undertaking was his wife Marie 
 Hansen. Any attempt to show Bayard Taylor's heavy obliga- 
 tion to his wife is partially thwarted by Mrs. Taylor's own 
 beautiful but perverse modesty. One yearns with a writer in a 
 recent number of the Nation " to know Marie Hansen's part in 
 his literary development and in his masterpiece, the ' Faust.' "^^ 
 One need await, however, no disclosures from Mrs. Taylor. 
 She remains consistent in her attitude of self -depreciation. 
 " Einstmals, klagte ich, dass ich eine so prosaische Lebens- 
 gefahrtin fiir ihn sei, so wenig beanlagt, ihm geistig eben- 
 biirtig zur Seite zu stehen, wie es bei dem Browningschen Paar 
 oder bei Dick und Lizzie Stoddard der Fall sei."^* None the 
 less it is distinctly symbolic, I think, that the German text, on 
 which Taylor based his " Faust," was one of his wedding 
 gifts.^*^ 
 
 It cannot be directly proven that Mrs. Taylor stimulated 
 her husband's study of Goethe in general and of the " Faust " 
 in particular. But it can be shown that Taylor's interest in 
 Goethe synchronizes with the advent of Marie Hansen into 
 his life. We know that Taylor possessed the complete works 
 of Goethe when he returned from his first visit to Europe 
 (1846).®^ But we have no record in the Life and Letters that 
 he read them before 1857, the year of his marriage. Of the 
 Germans, it is Schiller whom he reads f^ Schiller's " Life and 
 Genius," on which he is prepared to lecture ;^^ Schiller whom 
 
 "^ Cf. At Home and Abroad, I, p. 34, " First Difficulties with Foreign 
 Tongues " ; " Mr. Willis deposited me safely in the eilwagen for Heidel- 
 berg, where [in Heidelberg doubtless] I remained quietly until I knew 
 enough German to travel with ease and comfort." This was in 1845. 
 
 " Cf. Nation, v. LXXXII, p. 100, review of On Two Continents, 
 
 •* Cf. Aus Zwei Weltteilen, p. 70, 
 
 •" Cf. Aus Zwei Weltteilen, p. 41. 
 
 "• Cf. Life and Letters, v. I, p. 100. 
 
 " Cf . Life and Letters, v. I, p. 102; cf. also ibid., p. 209. 
 
 " Cf. Life and Letters, v. I, p. 197. 
 
16 
 
 he learns by heart, and recites in the temples of India;®® 
 Schiller, who, together with Shelley, influences the first period 
 of his poetic work.*^® 
 
 As far as I am able to learn the first bit of Taylor's Faust- 
 translation which was printed was the " Soldiers' Song " of 
 the First Part, which appeared as a " Song from Goethe " in 
 1859.^^ Taylor was conscious of " something rich and strange " 
 when he first turned to Goethe, for he wrote in 1866, " My 
 studies now are changed from what they once were. I read 
 first of all Goethe. ... I abhor everything spasmodic and sen- 
 sational, and aim at the purest, simplest, quietest style in what- 
 ever I write."*^^ 
 
 It is clear from Taylor's letters that his wife was his literary 
 adviser. He consulted her first in regard to whatever he 
 wrote,''^ and he found her a keen critic.*^* In matters German 
 this was bound to be peculiarly so. It is quite natural, as Mr. 
 Stedman says, that "she confirmed his taste for the thought 
 and letters of her Fatherland, and was his constant aid in the 
 study of them."" 
 
 ~ Cf. Aus Zwei Weltteilen, p. 38. 
 
 '" Cf. Poetical Works, Household Ed., 1902, pref., p. iv. 
 
 '^ Cf. Knickerbocker Magazine, March, 1859, p. 277. 
 
 " Cf. Life and Letters, v. II, p. 459 f. 
 
 " Cf. Life and Letters, v. II, p. 565 : " My wife says the plan so far is 
 very successful." Cf. ibid., p. 575, " Not a soul here has read the 
 * Masque ' except my wife." Cf. ibid., p. 634, " . . . no one here, except 
 my wife, has any suspicion of what I have done." Cf. ibid., p. 651, " Ex- 
 cept my wife, the only human being who has seen the MS. is Boker." In 
 this connection the letters which passed between Taylor and his wife, 
 during the composition of the " Prophet," are instructive. Mrs. Taylor 
 at the time was under a physician's care in Leipzig, while Taylor was 
 mostly in Weimar. Cf. Aus Zwei Weltteilen, p. 179, " Hier und da frage 
 ich mich, ob Dir wohl diese oder jene Stelle gef alien wird, ich bin aber 
 meiner Sache nie ganz sicher." Cf. ibid., p. 181 ; " Ich bin bei der 
 siebenten und letzten Szene, die morgen fertig wird ; so kann ich Dir also 
 den ganzen Akt mitbringen." Cf. ibid., p. 185 ; " Da alle Faden der Hand- 
 lung jetzt zusammengesponnen sind, so bin ich sicher, dass ich Akt V 
 in der nachsten Woche vollenden kann. Dann komme ich auf eine Woche 
 nach Leipzig. Einstweilen aber erwarte mich diesen Sonnabend, denn 
 ich muss Dir Akt IV vorlesen, ehe ich Akt V schreibe." 
 
 " Cf. Life and Letters, v. II, p. 599 : " I have no audience or adviser 
 here but M., who is all the keener because a loving critic." 
 
 " Cf. Poets of America, p. 369. 
 
17 
 
 Mrs. Taylor's precise share in the translation of " Faust," 
 has, as far as I know, been nowhere recorded. But that she 
 did share in the great task of her husband, is admitted by- 
 Taylor himself. 
 
 This plant, it may be, grew from vigorous seed. 
 
 Within the field of study set by song; 
 
 Sent from its sprouting germ, perchance, a throng 
 
 Of roots even to that depth where passions breed; 
 
 Chose its own time, and of its place took heed; 
 
 Sucked fittest nutriment to make it strong: — 
 
 But you from every wayward season's wrong 
 
 Did guard it, showering, at its changing need. 
 
 Or dew of sympathy, or summer glow 
 
 Of apprehension of the finer toil. 
 
 And gave it so the nature that endures, 
 
 Our secret this, the world can never know : 
 
 You were the breeze and sunshine, I the soil: 
 
 The form is mine, color and odor yours ! " 
 
 It remains finally to be noted that Taylor himself would 
 have found one of his chief qualifications as a translator in 
 the fact that he was an American.'^^ He admitted that he 
 indulged "the hope that the great poets of other lands and 
 ages may receive their fittest English speech through Amer- 
 ican authors." And he adds, " The divergence of our national 
 temperament from its original character, is in this respect a 
 fortunate circumstance. A great many causes have combined 
 to make the American a much more flexible, sympathetic, im- 
 pressionable creature than his ancestor or cotemporary cousin. 
 Not being born to fixed habits of thought, he more easily 
 assumes, or temporarily identifies himself with those of other 
 races; he is more competent to shift his point of view; he is 
 more capable of surrendering himself to foreign influences, 
 and recovering his native manner when the occasion has passed. 
 His power of sensation is keener, his capacity for enthusiasm 
 greater.""^® 
 
 "Cf. Poetical Works, Household Edition, 1884, p. 214 f.: "To Marie. 
 With a copy of the translation of Faust." 
 
 " Cf. Life and Letters, v. II, p. 478 : " We Americans make better trans- 
 lators than the English, and we shall drive the latter out of the field." 
 
 '^ Cf. Critical Essays and Literary Notes, p. 258 f. 
 
 3 
 
18 
 
 Such a resume of Taylor's equipment prepares the reader 
 to find his "Faust" poetically indifferent or at best uneven. 
 On the other hand he will expect to find it admirable in all 
 those things which may be achieved by technical skill ; by con- 
 tinued experience in the imitation of other poets; by as thor- 
 ough a mastery of the German language as a foreigner can 
 well obtain ;^® by hard work f^ by the adaptability of an Amer- 
 ican temperament; and by the aid of a competent and en- 
 thusiastic collaboratrice. 
 
 "Cf. National Quarterly Review, September, 1871, p. Z7Z' Ludwig 
 Fulda would regard Taylor's exceptional knowledge of German as a 
 matter of small moment. Fulda, in his delightful essay, " Die Kunst des 
 Ubersetzers" (Cf. Aus der Werkstatt, p. 157 f.), says in part: " Nach 
 alledem kann fiiglich kein Zweifel mehr obwalten, worauf es beim 
 Ubersetzen hauptsachlich ankommt. Nicht auf die Beherrschung der 
 fremden, sondem auf die Beherrschung der eignen Sprache. Bei der 
 fremden kann dem Ubersetzer das Wissen anderer zu Hilfe kommen; bei 
 der eigenen ist er ausschliesslich auf sein personliches Konnen angewiesen, 
 Nur als einen weiteren Beleg fiir diese Behauptung fiihre ich die Tatsache 
 an, dass ein und dieselbe Person zwar aus mehreren Sprachen, aber 
 keineswegs in mehrere Sprachen kunstlerisch iibersetzen kann." 
 
 »"Cf. Letter of Charles T. Congdon, New York Tribune, December 20, 
 1878: "Of all the literary men whom I have known, I should speak of 
 him (», e.. Bayard Taylor) as the least afraid of work." 
 
CHAPTER II 
 Concerning Bayard Taylor's Theory of Translation 
 
 Bayard Taylor had a theory of translation. It will be 
 found set forth in certain of his letters/ in his review of 
 Bryant's translation of the Iliad/ but with most emphasis 
 in the prefaces of the First and Second Part of his " Faust." 
 Some of the principles involved by his theory Taylor enun- 
 ciates with so much ardor, that his tone appears frankly con- 
 troversial; we shall discuss those principles last. 
 
 Among those qualities which Taylor believed to be es- 
 sential to an excellent translation were these : 
 
 I. " That abnegation of the translator's personality through 
 which alone the original author can receive justice."^ In 
 this particular Taylor strove to practice what he preached. 
 He wrote to Mr. Stedman, after the appearance of the 
 " Faust " : " The difference you notice between MS. and print 
 is partly owing to the severe final revision, in which I tested 
 every word once more and sternly struck out whatever seemed 
 to have the least reflection of me, though it might have been 
 more agreeable to eye and ear. I can see nothing, now, that 
 is not Goethe."* Taylor commends Brooks for the "abne- 
 gation of the translator's own tastes and habits of thought," 
 
 * Cf. Life and Letters. Professor James Morgan Hart, in a letter to the 
 writer, says : " To the best of my recollection, his (Taylor's) letters to 
 me did not embody any general theory of translation; only his and my 
 opinions on the accuracy of certain of his renderings. Having handled 
 his correspondence here, to get it in chronological sequence, I retain a 
 vague general impression of the growth and movement of his mind. And 
 this vague impression prompts me to say that his translation-theory can 
 be got only from a careful study of his earlier correspondence with his 
 intimate friends, George H. Boker, Stoddard, Stedman, etc." The letters 
 of which Professor Hart speaks are all at Cornell, but Mrs. Bayard 
 Taylor refuses to have them inspected by any person during her life. 
 
 ^ Cf. Essays and Notes, p. 258. 
 
 * Cf. Essays and Notes, p. 258, 
 
 * Cf. Life and Letters, v. II, p. 548. 
 
 19 
 
20 
 
 for his "reverent desire to present the original in its purest 
 form."^ Elsewhere he writes : " We reckon it as one of the 
 great excellences of Mr. Bryant's version (i. e., of the Iliad), 
 that it suggests nothing of the individual manner of the trans- 
 lator, except, indeed, those pure artistic qualities which are 
 above all individual characteristics of genius."^ 
 
 2. "A translator should have a nearly equal knowledge of 
 both languages, in order to get that spirit above and beyond 
 the words which simple literalness will never give. The best 
 condition is that in which one knows both languages so well 
 that he does not need to break his head in the hunt for words, 
 but keeps his best strength for that part of the thought which 
 subtly expresses itself in metre and harmony."'' Relative to 
 this point Taylor wrote in another place: "You will see that 
 my object — not only here but throughout — is to reproduce 
 measure and rhyme, and also the rhythmical tone or sfimmung 
 of the original. My only charge against Mr. Brooks is that 
 he neglects the latter quality, which is something apart from 
 the mere scansion."^ 
 
 3. "The first draft of the work requires warmth; the re- 
 vision, coolness."^ 
 
 4. It takes a poet to reproduce a poet. Taylor, in com- 
 menting on Lord Derby's translation of Homer, says : " . . . 
 he has missed those subtle graces, those fortunate strokes of 
 expression, which only a poet can adequately recognize and 
 only a poet can reproduce."^^ Elsewhere he speaks of "the 
 gulf . . . which always opens between the best results of 
 Labor and Taste, and the achievements of that gift which 
 is born and never to be acquired."^^ 
 
 "Cf. Faust, I, pref., p. iv. 
 
 " Cf. Essays and Notes, p. 274. 
 
 ' Cf. Life and Letters, v. II, p. 506. 
 
 * Cf. Life and Letters, v. II, p. 520. 
 
 " Cf. Life and Letters, v. II, p. 507. 
 
 " Cf. Essays and Notes, p. 261. 
 
 " Cf. Essays and Notes, p. 268. Critics on the whole seem to agree 
 with Taylor that it takes a poet to translate a poet. It is of interest 
 therefore to record the opinion of two who are of contrary mind. Cf. 
 Dr. Gustav Week, Principien der Ubersetzungskunst, p. 6 ; " Congenialitat 
 der Naturen ist das Wunschenswertheste ; das Geringste, dass der Uber- 
 
21 
 
 5- " With regard to metrical form, we presume no one will 
 deny that that of the author must be chosen, where the trans- 
 lator's language will admit of it without too great a sacrifice."^^ 
 
 6. " The labor of translation " must be " effectually con- 
 cealed."^^ 
 
 7. Taylor approves "... purity of diction, the balance and 
 harmony of rhythm, variety of movement, and that native 
 poetic instinct which combines the simple and the picturesque, 
 the bare prosaic fact and its dignified expression."^* 
 
 8. The original must be rendered in words which are not 
 alone literal but also equivalent. Taylor says of Brooks's 
 " Faust " : " The care and conscience with which the work had 
 been performed were so apparent, that I now state with re- 
 luctance what then seemed to me to be its only deficiencies — 
 a lack of the lyrical fire and fluency of the original in some 
 passages, and an occasional lowering of the tone through 
 the use of words which are literal, but not equivalent."^^ 
 
 9. The translator's "task is not simply mechanical; he 
 must feel, and be guided by, a secondary inspiration. Sur- 
 rendering himself to the full possession of the spirit which 
 shall speak through him, he receives, also, a portion of the 
 same creative power."^^ 
 
 setzer selbst ein Stuck Poet sei." Cf. also Dr. Johannes Ehlers, W&rin 
 hesteht die Uebersetsungskunstf p. 7 f . : " Kein Uebersetzer bedarf des 
 schopferischen Talentes fiir das, was er nachzubilden beginnt, aber tiefere 
 Kunde davon muss er besitzen. So braucht der Uebersetzer des Dichters 
 keiner dichterischen Begabung, wohl aber des Bewusstseins fiir das 
 Dichterische, der vernunftmassigen Erkenntniss von der Art der Dicht- 
 kunst. Ware er ein Dichter, so wiirde er zur eigentlichen Uebersetzungs- 
 kunst weniger berufen sein, wiirde sich mehr zur freien getrieben fiihlen, 
 die zwar auch noch nicht die Gabe des urspriinglichen Schaffens voraussetzt, 
 aber doch der Einbildungskraft mehr Raum gestattet, da sie nur das 
 Gesetzbuch der Darstellungskunst anerkennt und darauf verzichtet den 
 Anforderungen der Sprachwissenschaft zu geniigen. Die Erfahrung lehrt, 
 dass schopferisch weniger Begabte sich vorziiglich und mit dem besten 
 Erf olge der Kunst des Nachbildens weihen ; die Romer begannen damit 
 ihre Litteratur, sie waren kein sehr erfindsames Volk ; und die Leistungen 
 eines Schlegel in dieser Richtung verehren wir weit hoher als was er selbst- 
 schaffend hervorgebracht." 
 
 " Cf. Essays and Notes, p. 261. 
 
 " Cf. Essays and Notes, p. 271. 
 
 " Cf . Essays and Notes, p. 274 f, 
 
 " Cf. Faust, I, pref., p. iv. 
 
 " Cf. Faust, I, pref., p. viii. 
 
22 
 
 Up to this point there is nothing new or startling in Taylor's 
 views concerning translation; but in his prefaces to "Faust" 
 he becomes more radical, indeed, he grows almost polemical, 
 when he comes to make a plea for the principle of translation 
 which lay nearest his heart, when he insists upon a lineal,^^ 
 literal, rime and rhythm preserving reproduction of the poetic 
 original. He maintains that there are " few difficulties in 
 the way of a nearly literal yet thoroughly rhythmical version 
 of Faust. "'^^ That the public accepts at all " the cheaper sub- 
 stitute,"^® a prose translation of a poetical work, proves 
 nothing but that the " qualities of the original work . . . can- 
 not be destroyed by a test so violent."^" Even meters selected 
 arbitrarily by the translator are not to be endured. " The 
 white light of Goethe's thought" is "thereby passed through 
 the tinted glass of other minds, and" assumes "the coloring 
 of each. "2^ To which one is tempted to reply that such is 
 the case in any version whatsoever ; the white light of Goethe's 
 
 " Cf. unpublished letter to Professor J. M. Hart, dated March lo, 1871 : 
 " I have aimed less at exact verbal translation, than at giving the char- 
 acter and spirit of the lines" 
 
 " Cf. Faust, I, pref., p. iv. 
 
 " Cf. Faust, I, pref., p. xii. 
 
 ^ Cf. Faust, I, pref., p. xi. 
 
 ^ Cf. Faust, I, pref., p. iv. Taylor quotes (Faust, I, pref., p. v f.) 
 several passages from Goethe in support of his contention for a metrical 
 version of Faust. Over against these may be set a paragraph from the 
 Eleventh Book of the Third Part of Dichtung und Wahrheit : " Ich ehre 
 den Rhythmus wie den Reim, wodurch Poesie erst zur Poesie wird, aber 
 das eigentlich tief und griindlich Wirksame, das wahrhaft Ausbildende und 
 Fordernde ist dasjenige, was vom Dichter iibrig bleibt, wenn er in Prosa 
 ubersetzt wird. Dann bleibt der reine vollkommene Gehalt, den uns ein 
 blendendes Aeussere oft, wenn er fehlt, vorzuspiegeln weiss und, wenn 
 er gegenwartig ist, verdeckt. . . . Nur will ich noch, zu Gunsten meines 
 Vorschlages, an Luthers Bibeltibersetzung erinnern : denn dass dieser 
 treffliche Mann ein in dem verschiedensten Stile verfasstes Werk und 
 dessen dichterischen, geschichtlichen, gebietenden, lehrenden Ton uns in 
 der Muttersprache wie aus einem Gusse iiberlieferte, hat die Religion mehr 
 gefordert, als wenn er die Eigentiimlichkeiten des Originals im einzelnen 
 hatte nachbilden wollen. Vergebens hat man nachher sich mit dem Buche 
 Hiob, den Psalmen, und anderen Gesangen bemiiht, sie uns in ihrer 
 poetischen Form geniessbar zu machen. Fiir die Menge, auf die gewirkt 
 werden soil, bleibt eine schlichte Uebertragung immer die beste. Jene 
 kritischen Uebersetzungen, die mit dem Original wetteifern, dienen eigent- 
 lich nur zur Unterhaltung der Gelehrten unter einander." 
 
23 
 
 thought still passes through the tinted glass of other minds; 
 that is inevitably the nature of translation. 
 
 Taylor insists with such excess of warmth upon the repro- 
 duction of the original rimes and meters, he is so compla- 
 cently satisfied that he has "very nearly" achieved "a rigid, 
 unyielding adherence to every foot, line, and rhyme of the 
 German original " 'P and he assumes an attitude of such toler- 
 ant superiority toward those persons who had done "Faust" 
 into prose or into arbitrary meters that he might readily ap- 
 pear to believe that he had found in fidelity to form a panacea 
 for all the ills of translating; a complete formula for the per- 
 fect transference of literature from one language to another. 
 At any rate Taylor, by reason of his prefaces, seemed to 
 many critics to imagine that poetry resides exclusively in form, 
 and that consequently he who caught the form, caught the 
 poetry too. To these critics fidelity to form was Taylor's 
 fetish; to them his pronouncements were little short of a 
 challenge. 
 
 One of these critics, writing in the Nation, shall speak 
 for himself. He says : " Mr. Taylor's translation of the 
 ' Faust ' is prefaced by a plea for a version which shall re- 
 tain the * form,' of the original. This ' form ' consists in the 
 metres and rhymes, he would seem to say, and a version 
 which follows the metres of the original as closely as the 
 relation between the English language and the German allows, 
 will, he thinks, be a far better rendering of the poem than 
 any literal version can be. He would seem to hold that a 
 literal version is ipso facto prosaic, and that a metrical version 
 is very likely, in virtue of its metres merely, to be a more 
 poetical version than any version in prose. He is even at 
 pains to talk at some considerable length of the conserva- 
 tism of our literary standards, and of the underrated re- 
 sources of English poetry in the matter of dactyls, and so 
 on; as if dactyls and iambs and trochees and all the rest of 
 them had not figured for generations in English literature, 
 and in text-books that teach the art of English composition 
 to boys and girls at school. No one would think of denying 
 
 ^ Cf. Faust, I, pref., p. xv. 
 
24 
 
 what Mr. Taylor is strenuous to assert — the necessary con- 
 nection of rhythm with poetry; but there are always multi- 
 tudes of people who, asserting this, and having no understand- 
 ing of its meaning, afford proof the most conclusive that to 
 any rhythms or rhymes, however elaborate, it is poetry alone 
 that can give the least value. ' If you are literal in translat- 
 ing,' Mr. Taylor would say, ' the " form " vanishes, and " no 
 one familiar with rhythmical expression through the needs 
 of his own nature" will say that the form of a poem is of 
 secondary importance.' To this the reply of the literalists 
 would be, that the ' form ' of a poem cannot be said to re- 
 side in its metres, but may with far more truth be said to 
 reside in such choice and such presentation of certain truths of 
 nature and life as shall make them beautifully affecting, and 
 so, instructive while delightful. The objection, they would 
 say, to trying to give the superficial form is that the dif- 
 ference in languages is such that you cannot at once make 
 with two of them the same music and express the same 
 thoughts; and the temptation is to sacrifice the thought to 
 the music, while the best result of the attempt, except in some 
 lucky instances of very rare occurrence, is to make the thought 
 concede a little to the music, and the music a little to the 
 thought, so that definiteness of meaning is sure to lose some- 
 thing, is likely to lose much, and so also are the sweetness 
 and vagueness of suggestion sure to vanish away. However, 
 we did not intend to be led into any discussion of a question 
 so long mooted and so incapable of settlement as we have 
 already admitted the question of the best theory of transla- 
 tion to be. In the particular case of Mr. Taylor, the com- 
 paratively new phase of the controversy which he represents 
 we thought it worth while to note. That a foreign poet should 
 be so brought over to us that we may regard him as our 
 own; that the translator should give us poetical equivalents 
 rather than require us to transport ourselves over to the for- 
 eign poet and adopt his situation; but that the translator 
 should as often as possible give us precisely the same thing 
 that the foreign poet gives his native auditors, and not put 
 us off with an English equivalent for the German or Italian 
 
25 
 
 or French original — this is one of the several accustomed 
 views of the translator's duty and as such may well be al- 
 lowed to pass without more of fruitless challenging and col- 
 loquy. Not so, however, as we think, with Mr. Taylor's 
 variation of the general term. This, it seems to us, it will be 
 well for many of us to consider carefully. To us, ourselves, 
 it seems to lay inordinate stress upon the mechanics of poetry, 
 and to be capable of doing harm. To get men of our race 
 and time to think enough about ' form ' is no doubt very diffi- 
 cult, and to accomplish it would, no doubt, be very well. But 
 to let ourselves be bedevilled by intricacies of construction 
 and then talk about 'art' as some of us do, is as much like 
 caring for 'form' as cutting a tree into wooden Nuremberg 
 toys is like saving it alive and working with spade and prun- 
 ing knife in assistance of the elemental forces which shape it 
 in accordance with the natural law of its growth. "^^ 
 
 It can be shown, however, I believe, that Taylor himself 
 did not imagine that fidelity to form provided an infallible 
 solution for all the problems of translation, or that form is 
 poetry, or that he who catches the form catches the poetry with 
 it. If we forsake the pretentious and apparently unduly dog- 
 matic prefaces for more obscure corners of Taylor's " Faust," 
 we shall find that he makes concessions which seriously modify 
 his theory of translation; so much so, that Taylor too, whose 
 confident prefaces had promised much, is found in the event 
 to leave us without any hard and fast formula whereby the 
 flawless translation may be unerringly obtained. To begin 
 with, he admits, albeit with an amusing air of wonderment 
 shining through his words, that the atmosphere, nay, even 
 the movement of a given passage may be reproduced where 
 the original meter has been ignored. He says : " Shelley 
 translates the couplet with great spirit : 
 
 * The giant-snouted crags, ho ! ho ! 
 How they snort and how they blow ! * 
 
 His version of the Walpurgis-Night, although not very faith- 
 ful, and containing frequent lines of his own interpolation, 
 
 ^' Cf . Nation, March 23, 1871, p. 201 f. 
 
26 
 
 nevertheless admirably reproduces the hurrying movement and 
 the weird atmosphere of the original. This is the more re- 
 markable since he disregards, for the most part, the German 
 metres."^* 
 
 Secondly, he quotes, if not with approval at any rate with- 
 out dissent, a passage from Diintzer and a xenion which ex- 
 pressly state that all things poetical are not achieved by meter 
 and rime, that is, by form alone.^*' 
 
 And thirdly, he grants that he is on occasion unable to apply 
 his lineal, literal, rime and rhythm preserving formula; or 
 having applied it, the result somehow fell short of what might 
 be considered a good translation. He is unable, he says, to 
 apply his theory in the case of the line : 
 
 Es irrt der Mensch so lang er strebt.** 
 
 Far from reproducing it, " in English without the slightest 
 change of meaning, measure, or rhyme "^^ he finds it " impos- 
 sible to give the full meaning of these words ... in a single 
 line. "2^ He is further unable to apply his theory in the case 
 of the lines: 
 
 Faust 
 Schlange! Schlange! 
 
 Mephistopheles fur sich 
 Gelt ! dass ich dich f ange ! " 
 
 Taylor says : " In this exclamation, and in the aside of Mephis- 
 topheles, I have omitted the rhyme of the original, which could 
 not possibly be reproduced without losing the subtile suggest- 
 
 ** Cf. Faust, I, Notes, p. 306, note 130. 
 
 "Cf. Faust, I, Notes, p. 319, note 155: "Goethe undoubtedly herewith 
 designates those botching poetasters, who, without the slightest idea that 
 every living poem must flow spontaneously from within as an organic 
 whole, miserably tack and stitch rhymes together, and thus produce 
 malformations which they attempt to pass off as creations of beauty." 
 Diintzer. 
 
 " Everjrthing in this poem is perfect, thought and expression, 
 Rhythm : but one thing it lacks ; 'tis not a poem at all." 
 
 «Cf. 1.317. 
 
 " Cf. Faust, I, pref., p. xiv. 
 
 " Cf . Faust, I, Notes, p. 228, note 11. 
 
 »Cf. 11. 3324-3325. 
 
27 
 
 iveness of the words."^^ In the " Konig in Thule " Taylor is 
 once more unable to be quite faithful to form,^^ and yet that 
 lyric was perverse enough to turn out the best thing in Taylor's 
 whole translation. 
 
 There are still other places, not specified in the notes, where 
 Taylor has failed to remain accurately within the limits pre- 
 scribed by his original. Thus in the song of the Geister,^^ 
 the original text shows fifty-nine lines, while Taylor has 
 sixty. The superfluous line is: 
 
 Circling the islands. (I, 60) 
 
 The speech of the Kater (11. 2402-2415) contains in the orig- 
 inal fourteen lines, of which Taylor makes fifteen. His extra 
 line is : 
 
 And drop, quiescent, (I, 103) 
 
 Margaret's speech (11. 4453-4459) contains in the original 
 seven lines, of which Taylor makes eight. His extra line is : 
 
 His prey to discover. (I, 209) 
 
 Chiron's speech (11. 7399-7405) has in the original seven lines, 
 of which Taylor makes eight. The extra line is: 
 
 And irresistibly she smiteth. (II, 119) 
 
 The speech of the Pygmaen-Alteste (11. 7626-7643) contains 
 in the original eighteen lines, of which Taylor makes nineteen. 
 The extra line is : 
 
 Working victorious. (II, 128) 
 
 The speech of the Generalissimus (11. 7644-7653) contains in 
 
 ** Cf. Faust, I, Notes, p. 292, note no. 
 
 '^Cf. Faust, I, pref., p. xv: "The single slight liberty I have taken 
 with the lyrical passages is in Margaret's song, — ' The King of Thule,' — 
 in which, by omitting the alternate feminine rhymes, yet retaining the 
 metre, I was enabled to make the translation strictly literal." Cf. also 
 Faust, I, Notes, p. 287, note 99: "As I have stated in the Preface, the 
 feminine rhymes of the first and third lines of each verse have been 
 omitted, in order to make the translation strictly literal. ... In this 
 instance I have considered it especially necessary to preserve the simplicity 
 of the original, and (if that be possible) the weird, mystic sweetness of 
 its movement." 
 
 "Cf. 11. 1447-1505. 
 
28 
 
 the original ten lines, of which Taylor makes eleven. The 
 extra line is : 
 
 Shoot and bring low. (II, 129) 
 
 The speech of the Imsen and Daktyle (11. 7654-7659) contains 
 in the original six lines, of which Taylor makes seven. The 
 extra line is : 
 
 Were now defiant. (II, 129) 
 
 The speech of the Nereiden and Tritonen (11. 8044-8057) con- 
 tains in the original fourteen lines, of which Taylor makes 
 fifteen. The extra line is: 
 
 Chains and jewels hung around us. (II, 145) 
 
 The speech of Faust (11. loi 55-101 59) contains in the original 
 five lines, of which Taylor makes six. The extra line is : 
 
 Yet one has only, when all's said. (II, 232) 
 
 There remain one or two other instances where Taylor con- 
 cedes that he has not been altogether faithful to the form of 
 his original. He says : *' In this first chorus I have been forced 
 by the prime necessity of preserving the meaning, to leave the 
 second line unrhymed."^^ " In order to retain the rhyme, I 
 have been obliged to express a little more prominently the 
 idea of ' Inasmuch as ye have done it unto the least of one of 
 these my brethren, ye have done it unto me,* — which is implied 
 in the original."^* " In the original, the first of these names is 
 given as Fliegengott, Fly-god. For the sake of metre, I 
 have substituted our familiar Hebrew equivalent, Beelzebub — 
 or, more correctly, Baaisebub."^^ " In the first verse (i. e., of 
 " Meine Ruh' ist hin"), which is twice repeated as a refrain, 
 I have been obliged to choose between the repetition of the 
 word peace in the third line and the use of a pronoun which 
 cannot, as in the German, fix its antecedent by its gender."^® 
 " The spirit of this Chorus is clear, in the original, but not the 
 language. Even a literal translation is impossible unless we 
 supply, conjecturally, the singular ellipses of the German 
 
 " Cf. Faust, I, Notes, p. 239 f., note 32. 
 " Cf. Faust, I, Notes, p. 241, note 34. 
 " Cf. Faust, I, Notes, p. 254 f., note 52. 
 "Cf. Faust, I, Notes, p. 294, note 113. 
 
29 
 
 lines."^^ " Every line is here (i. e., in the verses " Gerettet ist 
 das edle died ") so pregnant with important meaning that an 
 exact rhymed translation becomes nearly impossible, and I 
 therefore add the verse in prose."^^ 
 
 In the last line of Faust's opening speech in the Kerker- 
 scene, Taylor (in his first edition of 1871, and in all reprints 
 of that edition) deliberately avoided the unusual transitive 
 force of sogern and translated : 
 
 On ! my shrinking only brings Death more near. 
 
 (" Faust," ed. 1871, I, p. 292.) 
 
 In one of his notes ("Faust," ed. 1871, I, p. 387) he said: 
 "The last line of Faust's soliloquy at the door: 'Fort! Dein 
 Zagen soger t den Tod heran!' is one of those paradoxical sen- 
 tences, the meaning of which it is more easy to feel than to 
 reproduce. Zogern, like its English equivalent, is an intransi- 
 tive verb; but Goethe's forcible use of it seems more natural 
 than Hayward's use of the English verb, — ' On ! Thy irresolu- 
 tion lingers death hitherwards ! ' This is strictly literal; yet 
 Mr. Brooks's translation — ' On ! Thy shrinking slowly hastens 
 the blow ! ' is preferable." Later Taylor changed his mind. 
 In the Kennett edition of his " Faust " (from 1875 on) the line 
 reads : 
 
 On! my shrinking but lingers Death more near. (I, 207) 
 
 " Cf . Faust, II, Notes, p. 435 f., note 176. Even a latter-day Ger- 
 man critic is tried, like Taylor, by the diction of Goethe's little excursus 
 in the field of mysticism. Cf. Goethe, Sein Leben und seine Werke, 
 by Dr. Albert Bielschowsky, v. 2, p. 669, where Professor Theobald 
 Ziegler of Strassburg says : " Mit dieser Neigung zum Allegorisieren hangt 
 dann aber auch die Sprache dieses zweiten Teiles zusammen . . . die 
 Sprache hat etwas Gespreiztes und Geschnorkeltes, der vielberufene 
 ' Altersstil ' Goethes macht sich wirklich sptirbar . . . man hore bei der 
 Grablegung Fausts im fiinften Akt den Chor der Rosen streuenden Engel: 
 
 Rosen, ihr blendenden . . . 
 Den Ruhenden hin. 
 
 Ist das noch einfach, ist das noch schon? Man wendet noch ein, iiber 
 den Geschmack sei nicht zu streiten. Gut! Aber dann liesse sich 
 vielleicht so sagen : Wer den Stil des ersten Teiles fur schon halt, dera 
 kann dieser grossartige und oft recht krause Stil des zweiten Teiles nicht 
 gefallen." 
 
 »» Cf. Faust, II, p. 459. 
 
30 
 
 The note was then altered to : " The last line of Faust's solil- 
 oquy at the door: 'Fort! Dein Zagen zogert den Tod her an I' 
 is one of those paradoxical sentences, the meaning of which it 
 is more easy to feel than to reproduce. Zogern, like its English 
 equivalent, is an intransitive verb; but Shakespeare's example 
 may justify me in using the verb to linger, with an object, as 
 Goethe uses zogern. The former expression is the literal re- 
 production of the latter."^* 
 
 It seems probable that Taylor made the change at Mr. Mac- 
 donough's suggestion, although he gives Mr. Macdonough no 
 credit for it. In a review of Taylor's translation, which ap- 
 peared in the New York World, Mr. Macdonough had written : 
 " The English version seems to us to miss here the neatest and 
 closest phrase (the same indeed which Hay ward adopts), by 
 refusing the expressive word * linger ' with a transitive force — 
 a force unusual, it is true, but supported by the highest author- 
 ity. ' Midsummer-Night's Dream ' gives us : ' How slow this 
 old moon wanes ! She lingers my desires.' The chorus lead- 
 ing in the second act of ' Henry the Fifth ' bids the auditors 
 'linger your patience'; and the last scene of ' Troilus and 
 Cressida ' presents a couplet involving the very same idea and 
 form with * Faust's ' : ' Let your brief plagues be mercy. And 
 linger not our sure destructions on.' "**^ 
 
 It is of interest to note further that Taylor departs from his 
 maxim of strict fidelity by omitting several lines of the original 
 text. His first omission is on the whole the most serious. 
 Taylor ignores the stage direction which follows immediately 
 after line 3194 in the German text.*^ This stage direction 
 reads : " Margarete driickt ihm die Hande, macht sich los und 
 lauft weg. Er steht einen Augenblick in Gedanken, dann folgt 
 er ihr." It is important because it is one of three hints which 
 Goethe gives us that Faust hesitated before accomplishing 
 
 " Cf . Faust, I, Notes, p. 331, note 173. 
 
 " Cf. New York World, February 3, 1871. 
 
 *^ Mrs. Bayard Taylor writes me in this connection : " The omission of 
 the stage direction on p. 144, ed. of '98, must have been done purposely 
 because the ed. of '70-71 also omits the same. Why I can't tell, except 
 that it does not come within the scope of a metrical translation.(?) " 
 Taylor did however translate all the remaining stage directions. 
 
31 
 
 Gretchen's ruin. Taylor completely missed the first of these 
 hints as is shown by his incorrect translation of the line : 
 
 Fort ! Fort ! Ich kehre nimmermehr, (1. 2730) 
 
 which Taylor strangely renders : 
 
 Go! go! I never will retreat. (I, 119) 
 
 Therefore it is doubly to be regretted that he should have 
 missed the second of these hints as well. 
 
 Taylor omits one of the twenty-two lines in the speech of the 
 Pulcinelli (11. 5215-5236). The line which remains untrans- 
 lated seems to be : 
 
 Einher zu laufen. (1. 5226) 
 
 The speech of Helena (11. 8524-8559) contains in the original 
 thirty-six lines, of which Taylor makes thirty-five. He leaves 
 untranslated : 
 
 Erobert bin ich, ob gefangen weiss ich nicht. (1. 8530) 
 
 The speech of Faust (11. 10212-10233) contains in the original 
 twenty-two lines, of which Taylor makes twenty-one. He 
 leaves untranslated: 
 
 Sie mag sich noch so ubermiithig regen. (1. 10224) 
 
 In his first edition of 1 870-1 871 Taylor omitted lines 9069- 
 9070: 
 
 Chor 
 Aber wir ? 
 
 Phorkyas 
 Ihr wisst es deutlich, seht vor Augen ihren Tod, 
 Merkt den eurigen da drinne; nein, zu helfen ist euch nicht. 
 
 These lines were included, however, in the Kennett edition of 
 Taylor's " Faust " from 1875 on. Finally Taylor omits 1. 10524 : 
 
 Er ist behend, reisst alias mit sich fort. 
 
 For this last omission it is hardly fair to hold Taylor respon- 
 sible, since the German edition of " Faust " on which he based 
 his translation omits it also.'*^ 
 
 *^The German text on which Taylor based his translation is a slender 
 i6mo. volume containing both parts of " Faust," although a careless 
 binder has inscribed / Theil on the back of the book. The title page 
 
32 
 
 Once, doubtless when temporarily abandoned by his logical 
 faculty, Taylor justifies violence done perforce to his principle 
 of formal fidelity, by violence done deliberately to that same 
 principle. Thus he says : "If, in two or three instances I 
 have left a line unrhymed, I have balanced the omission by 
 giving rhymes to other lines which stand unrhymed in the 
 original text."*^ 
 
 On the other hand Taylor applies his lineal, literal, rime 
 and rhythm preserving formula and then admits that the result 
 
 reads : Faust | Eine Tragodie | von | Goethe ] Beide Theile in Einem 
 Bande. | Stuttgart und Augsburg. | J. G. Cotta'scher Verlag | 1856. It 
 may be stated here that the volume contains nothing especially helpful to 
 the student of Taylor's translation. Taylor has drawn (in Part I, not in 
 Part II) short horizontal lines over against such lines of the text as he 
 afterward annotated. On p. 14 he corrects the misprint Ende to Erde. 
 On p. 16 at the end of the Prolog im Himmel he has written "ten notes." 
 Against the first four lines of the opening monologue (p. 17) he has 
 written " Marlow." At the bottom of page 25 he has written " ist Ed." He 
 has starred the line : Den leichten Tag gesucht und in der Damm'rung 
 schwer (p. 27), and at the bottom of the page he has written " *lichten 
 (Hartung)." Against the lines : 
 
 Falsch Gebild und Wort 
 Verandern Sinn und Ort! 
 Seyd hier und dort! (p. 86) 
 
 he has written " legend." On p. 167 in the upper right hand margin he 
 has written the numbers "44" and "176." He has drawn a perpendicular 
 line against the lines : 
 
 Er ist, wie ich von ihm vernommen, 
 
 Gar wundersam nur halb zur Welt gekommen. 
 
 Ihm fehlt es nicht an geistigen Eigenschaften, 
 
 Doch gar zu sehr am greiflich Tiichtighaften. (p. 319) 
 
 He has underlined the words " geistigen " and " greiflich Tiichtighaften," 
 starred the passage and written below " *Goethe." He has written beside 
 the stage direction : " Der Schauplatz verandert sich," p. 367, " III " and 
 at the bottom of the page " Eck II, 193." All Taylor's notes were written 
 with pencil. 
 
 *' Cf. Faust, I, pref., p. xv. Cf. also review of Taylor's Faust in 
 the Aldine, March, 1871, " Nor, having once enunciated and accepted the 
 law of careful observance of rhyme, has the author a very good grace in 
 putting forward his excuse, in the preface, that his occasional omission, 
 in the translation, of rhymes where they belonged in the original is counter- 
 balanced by his frequently supplying them where they do not exist. The 
 amateur of Eliana will be apt to recall poor Charles Lamb's stuttering 
 apology when scolded for coming to his desk so late mornings — * But then 
 you see, I always g-g-go away so early afternoons.* " 
 
33 
 
 is not all that it should be. There are still some things without 
 the realm of fidelity the most strict. He says : " The graceful 
 measure of the song (i. e., the Soldatenlied), which neverthe- 
 less expresses the roughest realism of German peasant-life, 
 can only be approximately given in another language."** " The 
 rhythmical translation of this song (t. e.^ the song of the 
 Geister) — which, without the original rhythm and rhyme, 
 would lose nearly all its value — is a head and heart breaking 
 task. I can only say, that after returning to it again and again, 
 during a period of six years, I can offer nothing better."**^ 
 ". . . the reader may study her {i. e., Gretchen's) character 
 for himself, although an indescribable bloom and freshness is 
 lost in transferring her story to another language."*^ " I have 
 been obliged, by the exigency of rhyme, to express the latter 
 phrase in different words; yet this is one of those instances 
 where no English words, though they may perfectly convey 
 the meaning, can possibly carry with them the fulness and ten- 
 derness of sentiment which we feel in the original. ' Ich 
 werde Zeit genug an euch zu denken haben " suggests in some 
 mysterious way, a contrast between Faust's place in life and 
 Margaret's, between the love of man and that of woman, which 
 the words do not seem to retain when translated."*^ " They 
 {i. e., the lines of the lyric " Meine Ruh' ist hin ") are, indeed, 
 articulate sighs ; the lines are almost as short and simple as 
 the first speech of a child, and the least deviation from either 
 the meaning or the melody of the original (even the change 
 of meine into my, in the first line) takes away something of its 
 indescribable sadness and strength of desire."*® " If the revery 
 at the spinning-wheel be a sigh of longing, this {i. e., the lyric 
 "Ach neige") is a cry for help, equally wonderful in words 
 and metre; yet with a character equally elusive when we at- 
 tempt to reproduce it in another language."*" "The delicate 
 
 " Cf. Faust, I, Notes, p. 243, note 39. 
 " Cf. Faust, I, Notes, p. 257, note 56, 
 *" Cf. Faust, I, Notes, p. 284, note 93. 
 "Cf. Faust, I, Notes, p. 289, note 105. 
 " Cf . Faust, I, Notes, p. 294, note 113. 
 "Cf. Faust, I, Notes, p. 297 f., note 117. 
 
 4 
 
34 
 
 satire of the line, Dock das Antike find' ich su lebendig, is lost 
 in translation."*^** " The original, 
 
 Denn wo Natur im reinen Kreise waltet, 
 
 Ergreifen all (sic) Welten sich, — 
 
 is one of those pregnant expressions which make the translator 
 despair, — for, the more thoroughly he is penetrated with the 
 meaning, the less does it seem possible to express that meaning 
 in any words."^^ 
 
 It will be observed that the majority of the above quotations 
 are from the First Part. From this it may be inferred that 
 Taylor was able to apply his formula and achieve results with 
 more satisfaction to himself in the Second Part. He de- 
 clares that this really was the case. " The original metres are 
 more closely reproduced than even in the First Part, for the 
 predominance of symbol and aphorism, in the place of senti- 
 ment and passion, has, in this respect, made my task more easy ; 
 and there are from beginning to end, less than a score of lines 
 where I have been compelled to take any liberty with either 
 rhythm or rhyme."''^ 
 
 While the enthusiastic prefaces might persuade us that 
 Taylor believed he had established in fidelity to form a canon 
 which should infallibly produce a perfect translation, the quo- 
 tations just made show clearly that on the one hand he found 
 himself unable at times to apply his theory; and that on the 
 other hand he applied his theory, transferred the form and some- 
 how the poetry was not transferred with it. He could see 
 that himself. Taylor had not, to be sure, that pessimistic atti- 
 tude as to the futility of translation, which says : " Translation 
 is travesty,"*^^ "Das Ubersetzen ist der Tod des Verstand- 
 nisses,"^* which insists that translation is synonymous with 
 making an ass of the thing translated.^*^ But he did think, I 
 
 " Cf. Faust, II, Notes, p. 383, note 66. 
 
 '^^Ci. Faust, II, Notes, p. 424, note 118. 
 
 " Cf. Faust, II, pref., p. xiv. 
 
 '^^ Cf. Nation, v. 12, p. 201. 
 
 " Cf. Cauer, Kunst des Ubersetzens, p. 4. 
 
 "Reviewers of Taylor's Faust (cf. Nation, March 23, 1871, p. 201, 
 and Harper's Magazine, March, 1871, p. 623) have a penchant for referring 
 to " Midsummer-Night's Dream," act III, scene i, where Quince beholds 
 Bottom " with an ass's head," and exclaims : " Bless thee, Bottom ! bless 
 thee! thou art translated." 
 

 35 
 
 believe, that translation is a thing to be sighed over regretfully, 
 a thing that is cut off by a very considerable interval from the 
 precincts of perfection. 
 
 In his Notes Taylor discusses Goethe's composition of 
 " Faust " II, act II, scenes 1-2, and says : " He {%. e., Goethe) 
 translates his thoughts from the natural language of Age into 
 that of Youth, and as in all translation, he is not quite equal 
 to the original."®^ And in one of his letters Taylor wrote : " It 
 would be impossible for me to translate my own German proem, 
 because it was conceived in German. I could only give the same 
 thought, in English — although my own — in paler colors."^^ As 
 between translating that which one has conceived oneself in a 
 foreign tongue, and that which some other person has con- 
 ceived in that tongue, it appears that such advantage as there 
 may be, must lie on the side of the former. Hence, I deduce 
 that Taylor believed translation to be at best a reproduction in 
 " paler colors." 
 
 Upon his own achievement in translating " Faust " Taylor 
 placed in certain private letters a more modest estimate than 
 he does in either of his prefaces. On one occasion he wrote : 
 " I freely admit that nothing in it {i. e., Taylor's translation of 
 " Faust ") equals the original, and that there is no passage 
 where some of the German bloom is not lost in the English 
 words."^^ 
 
 Thus we have seen that Taylor in his prefaces is led away 
 by his enthusiasm to state in terms too exclusive, too dogmatic, 
 his theory of formal fidelity. His statements, I believe, appear 
 more categorical than he intended they should. Beyond this 
 error in judgment, Taylor is, in his prefaces, twice guilty of 
 fallacy by implication. In his effort to show " that there is no 
 sufficient excuse for an unmetrical translation of Faust "^® 
 Taylor tells us that the Germans have made some extraor- 
 dinarily fine translations of English poems. He is even at 
 
 " Cf. Faust, II, Notes, p. 364, note 53. 
 
 " Extract from a letter to Professor James Morgan Hart, quoted by 
 A. H. Smyth in Bayard Taylor, p. 187. 
 
 ^ Extract from an unpublished letter to Professor James Morgan Hart, 
 dated February 19, 1871. 
 
 " Cf. Faust, I, pref., p. ix. 
 
36 
 
 pains to quote several very excellent specimens. The implica- 
 tion is, the Germans are uncommonly successful in making 
 translations from the English, therefore the English are (or at 
 any rate ought to be) uncommonly successful in making trans- 
 lations from the German. The implication is fallacious. It 
 is contrary to fact. 
 
 Five years before Taylor published his " Faust," the actual 
 state of the case was succinctly set forth by an English re- 
 viewer, who said : " A translator of German deals with metres 
 and with verbal roots which are common to both languages, 
 and a sanguine beginner in the art at first thinks it possible 
 to preserve both sound and the sense of the cognate original. 
 There are English and Scotch ballads which may be found 
 almost unchanged in several Low-German dialects, and mod- 
 ern German translations of Shakspeare display a photographic 
 fidelity to the text, although much of the spirit unavoidably 
 evaporates. The converse process of turning German verse 
 into English is far more difficult."®'* 
 
 Before considering why the converse process is far more 
 difficult, we will state the second fallacy by implication to be 
 discovered in Taylor's preface. Taylor says : " The difficulties 
 in the way of a nearly literal translation of Faust in the 
 original metres have been exaggerated, because certain affini- 
 ties between the two languages have not been properly con- 
 sidered."®^ In " Faust " especially there is " a mutual ap- 
 proach of the two languages . . . many lines of Faust may 
 be repeated in English without the slightest change of mean- 
 ing, measure or rhyme. . . . The flow of Goethe's verse is 
 sometimes so similar to that of the corresponding English 
 metre, that not only its harmonies and caesural pauses, but 
 even its punctuation, may be easily retained."®^ A list is 
 even drawn up of the variety of ways in which the English 
 tongue leaps to meet her Teutonic sister.®^ The inference 
 which Taylor would have us draw is this : the German (in par- 
 
 ~ Cf. Saturday Review, v. 19, p. 478, review of Sir Theodore Martin's 
 Faust. 
 
 "* Cf. Faust, I, pref., p. xii f. 
 " Cf. Faust, I, pref., p. xiv. 
 "* Cf. Faust, I, pref., p. xiv. 
 
37 
 
 ticular the German of "Faust") is structurally and in vocabu- 
 lary astonishingly like the English. It is of course amiable in 
 Taylor to insist so eloquently upon this point, for the better he 
 proves it, the more he lessens his own desert. But the facts 
 of the case are against him.®* 
 
 The first fact is this : " So large is the number of for- 
 eign words in English, that from a certain point of view it 
 might at first be supposed our language had lost its Teutonic 
 character. If, for example, we compute the foreign element 
 in one of our English dictionaries, it will be found to be far 
 in excess of the number of native words."®^ "As to this 
 tendency to borrow and use foreign words, however, nations 
 have radically differed. Some have with freedom adopted 
 words from all languages with which there has been the 
 slightest contact. The conservatism of others has withstood 
 the incorporation of any considerable loan element even from 
 the most friendly nation. The first class has one of its most 
 striking examples in English, while to the second class belongs 
 modem German."^® 
 
 "* Cf. Athenaeum, no. 2284, p. 171: "Of the resources of our language 
 for translation of German verse, Mr. Taylor has a very high estimate. He 
 finds it as easy to refer to examples of facility as we find it to give proofs 
 of difficulty." Cf. also Saturday Review, September 16, 1871, p. 370: 
 " We think that Mr. Taylor, in opposing in his preface the views of Mr. 
 Lewes, unduly underrates the organic differences of the two languages, 
 as well as the limit set to all endeavours to transplant a great poem from 
 any one tongue to another. Not to speak of the characteristic differences 
 of accent . . . the German possesses, in the abundance of its full sustained 
 vowels, with their vigorous consonantal supports, a depth of music which 
 can never be exactly reproduced in the lighter tones of English." Cf. 
 also review of Taylor's Faust in the Gegenwart : " Zuvorderst hat es 
 den Anschein als ob Taylor, indem er den Leweschen Ansichten entgegen- 
 tritt, die organische Verschiedenheit der beiden Sprachen zu sehr unter- 
 schatzt, und die Grenzen nicht erkennt, die naturgemass alien Ueber- 
 tragungen grosserer Dichtungen aus einer Sprache in eine andere gezogen 
 sind. Nicht minder verliert er bei seinen Reimen die Unbiegsamkeit, 
 Harte, und das Unmelodische der englischen Sprache und den weichen 
 Wohlklang, die Biegsamkeit und Vieldeutigkeit der deutschen aus den 
 Augen." This German reviewer had very obviously studied his Saturday 
 Review. 
 
 ^ Cf. O. F. Emerson, History of the English Language, New York, 
 1897, p. 125. 
 
 * Cf. ibid., p. 121 f. Cf. The Making of English, by Henry Bradley, 
 New York, 1904, p. 6 f. Mr. Bradley lays emphasis upon the difference 
 between the English and the German vocabulary. 
 
The second fact is this : " Our Modem EngHsh is called an 
 analytic, or uninflected tongue. That is, present English does 
 not rely on inflectional forms for expressing the various rela- 
 tions existing between nouns, adjectives, pronouns, and verbs."^^ 
 Out of these two stubborn facts arise for the translator from 
 German into English two (to my mind almost insuperable) 
 obstacles to an adequate translation. Bayard Taylor at any 
 rate has succeeded in clearing neither of these obstacles. 
 
 Out of the fact that English is strongly tinctured with a 
 Romance element, grows the " Latinization " of " Faust," as 
 one of the critics (Mr. W. P. Andrews) is pleased to call it. 
 Thus Mr. Andrews finds the line : 
 
 The joy (sic) which touched the verge of pain" 
 
 a very sophisticated rendering for Goethe's: 
 
 Das tiefe schmerzenvolle Gliick** 
 
 although he thinks it "one of the least marked variations in 
 this direction — a straw which shows the way of the wind."^® 
 Mr. Andrews continues : " Both Mr. Taylor and his forerun- 
 ner, Mr. Brooks, — to whom he owes an unacknowledged debt, 
 — insist on the importance of preserving the metres of the 
 original. Mr. Taylor has even called attention to the change 
 of musical atmosphere with the entrance of Margaret upon 
 the scene. . . . Mr. Taylor and Mr. Brooks seem, however, to 
 have been led somewhat astray by their notion that this atmos- 
 phere was the result of Goethe's constant use of the feminine 
 rhyme, whereas the distinguishing feature of Goethe's verse 
 is the entire absence of any of the Latinized and inverted 
 phrases common to ordinary literature, and the absolute di- 
 rectness and simplicity of his Teutonic speech. The verse 
 sings in all keys, but the characters speak as directly and 
 simply as if they had never heard of a book. . . . From be- 
 ginning to end of this great poem of 12,110 lines of nearly 
 
 " Cf. ibid., p. 278. 
 
 "Cf. Faust, I, p. 8; Taylor wrote: "The bliss that touched the verge 
 of pain." 
 ~Cf. 1. 195. 
 "> Cf. Atlantic, v. 66, p. 733. 
 
39 
 
 every known metre, we have hardly one Latinized word, and 
 not a single poetical trope or purely literary expression. This 
 being so, it is clear that Faust cannot be adequately repre- 
 sented by the constant use of Latinized words and literary 
 phrases."^^ 
 
 Mr. Andrews seems to be of the opinion that Brooks and 
 Taylor and other translators might have avoided this " Latini- 
 zation," if they but had the wit to do so. I do not agree 
 with him. It belongs, I think, to the genius of the language. 
 But I am very willing to admit that it is disastrous often to 
 the proper rendering of "Faust.'* We can imagine Bayard 
 Taylor's Margaret, with a fine rolling of r's and all the pomp 
 of an unwonted three syllables, pronounce the word "ab- 
 horred."^^ It is highly melodramatic. But it is not Goethe. 
 It is not Gretchen. And nothing remains of Gretchen in the 
 transition from: 
 
 Wo ist dein Lieben 
 
 Geblieben?" 
 to 
 
 How changed in fashion 
 
 Thy passion." 
 The passage: 
 
 Ach, dass die Einfalt, dass die Unschuld nie 
 Sich selbst und ihren heil'gen Werth erkennt ! 
 Dass Demuth, Niedrigkeit, die hochsten Gaben 
 Der liebevoll austheilenden Natur — " 
 
 which Taylor renders: 
 
 Ah, that simplicity and innocence ne'er know 
 Themselves, their holy value, and their spell! 
 That meekness, lowliness, the highest graces 
 Which Nature portions out so lovingly — (I, 139) 
 
 is ruined by that one word "value," although "simplicity," 
 "innocence," "the highest graces," "portions," and the of- 
 
 " Cf. Atlantic, v. 66, p. 733. 
 "Cf. Faust, I, 159. 
 " Cf. 11. 4495-4496. 
 "Cf. Faust, I, p. 211. 
 «Cf. 11. 3 1 02-3 1 05. 
 
40 
 
 fensively literary "ne'er" undoubtedly contribute their share 
 to the general unsatisfactory effect. Similarly the stanza, 
 
 His lofty gait, 
 
 His noble size. 
 
 The smile of his mouth, 
 
 The power of his eyes, (I, 155) 
 
 is robbed of all its charm by that odious word "size." A 
 single verse of eight lines, otherwise rather well translated, 
 which in the original shows but one word (" Bruderspharen ") 
 in part of foreign derivation, has in Taylor's rendering 
 the following words of Latin descent: "orb," "emulation," 
 "ancient," "predestined," "creation," "visage," "splendid," 
 "power," " uncomprehended." (I, 11.) 
 
 And if we turn at random to the other extremity of the 
 volume we find another verse of eight lines, again containing 
 in the original one non-German substantive (Ather). But out 
 of that one, in Taylor's version, have grown twelve. They 
 are " insensibly," " pure," " eternal," " orders," " Presence," 
 "spirits," " sustentation," "ether," "eternal," "Revelation," 
 "Beatitude," "ascending." (II, 308.) These, in the spirit 
 of Matthew Arnold, I should call "bad words."^® They are 
 too sophisticated. They detract from the simple Teutonic sub- 
 limity of the original. But I am not sure that we could much 
 improve on them and still use the English language. 
 
 Out of the second fact, that our language is analytic and 
 uninflected grows the greater of the two obstacles to an ade- 
 quate translation from the German into the English. The 
 English reviewer, whom I have already quoted, says well upon 
 this point : " The converse process of turning German verse 
 into English is far more difficult, in consequence of the inevi- 
 table deficiency of terminal syllables. Poetry, like prose, may 
 sometimes be improved by condensation, and it inevitably loses 
 by artificial expansion. While the German translator, adher- 
 ing to the metre of the original, has always two or three 
 
 ^' Cf. M. Arnold, On Translating Homer, Last Words, p. 248 : " Again, 
 because I said that eld, lief, in sooth, and other words, are, as Mr. Newman 
 uses them in certain places, bad words, he imagines that I must mean to 
 stamp these words with an absolute reprobation." 
 
41 
 
 syllables in a line to spare, his English competitor must con- 
 trive to fill up as many vacant spaces. If the language of 
 Chaucer could have been kept alive for purposes of translation, 
 many vowels which are now mute would still be sounded, and 
 it would often be unnecessary to alter or to transpose the 
 corresponding German word. The same difficulty which besets 
 a translator of Faust interferes with attempts to modernize 
 old English verse. Such a couplet as 
 
 Up sprengen spares twenty foot on hight; 
 Out goen swerdes as the silver bright; 
 
 might be transposed with less change into German than into 
 the clipped English of the present day. Schwerter and Speere 
 would be far more manageable than swords and spears'''''^ All 
 this is extremely well said. Two lines of it will even endure 
 repeating. " Poetry, like prose, may sometimes be improved 
 by condensation, and it inevitably loses by artificial expansion." 
 The discrepancy in the number of syllables between inflecting 
 German and non-inflecting English drives the translator from 
 German into English to padding. It drove Bayard Taylor to 
 padding. And as has been cleverly said : " The indulgence of 
 this obstetric art in the case of so finished a poet {i. e., as 
 Goethe) is hazardous."^® It is Taylor's solicitude for rhythm 
 and rime, sometimes for both, that impels him to his " fatal 
 habit of impoverishing by seeking to enrich."^* At times he 
 seeks relief in vacuous epithets and impotent adverbs : 
 
 " Cf. Saturday Review, v. 19, p. 478, review of Sir Theodore Martin's 
 Faust. Cf. Anzeiger fiir deutsches Altertum und deutsche Litteratur, 
 1898, p. 214, review of McLintock's Faust by Albert Koster: " wer 
 Shakespeare oder Byron vers fiir vers ins deutsche iibertragen will, empfindet 
 oft die schwierigkeit, den ganzen inhalt und jede nuance eines englischen 
 satzes mit einer ebenso geringen anzahl von silben wiederzugeben. 
 umgekehrt, wenn der Englander eine deutsche dichtung versgetreu iiber- 
 setzt. da ermoglicht es ihra seine einsilbige sprache sehr haufig, einen 
 gedanken auf der halfte des raumes zum ausdruck zu bringen, den der 
 Deutsche braucht. und weil nun die ausdehnung jedes verses vorge- 
 schrieben ist, so stellen sich flickworter oder noch storendere zutaten wie 
 von selbst ein." 
 
 " Cf. Saturday Review, September 16, 1871, p. 370. 
 
 "Cf. ibid. 
 
42 
 
 How ill it suits the Artist, proud and true. (I> 5) 
 And when your hands unroll some parchment rare and old. 
 
 (I. 45) 
 
 This first line let me weigh completely. (I, 50) 
 
 And come, devoted and sincere. (I, 75) 
 
 Like eating and drinking, free and strong. (I, yy) 
 
 And, if we're light, we'll travel swift and clear. (I, 83) 
 
 And fill thy goblet full and free. (I, 109) 
 
 The tender bosom filled and fair. (I, 118) 
 How this pure soul, of faith so lowly. 
 
 So loving and ineffable. (I, 161) 
 
 Sweet pain of love, bind thou with fetters fleet. (I, 117)" 
 
 His tones are sweet and rare ones. (I, 196) 
 
 But tell me why, in days so fair. (II, 10) 
 
 That we win your praises tender. (II, 22) 
 
 We are fair to see and blooming. (II, 22) 
 
 Yet we hope to please you purely. (II, 23) 
 
 Promise sweet, and yielding tender. (II, 24) 
 
 Life we bless with graces living. (II, 30) 
 
 And in days serene and spacious. (II, 30) 
 
 Thy wand thereto is fit and free. (II, 46) 
 
 For, ever foremost, crowd the women greatly. (II, 47) 
 Whate'er once was, there burns and brightens free. (II, y6) 
 
 With arm grown strong he lifts her high and free. (II, 82) 
 
 I sought for hidden treasures, grand and golden. (II, 91) 
 
 This is Youth's noblest calling and most fit. (II, 93) 
 
 How strangely am I moved, how nearly. (II, 115) 
 
 O'er the waters, wild and free. (II, 145) 
 
 Not distant are we from his cavern cold. (II, 147) 
 
 At once my wrath is kindled, keen and clear. (II, 147) 
 
 Blent with the element so freely, brightly. (II, 149) 
 
 In one's own day to be true man and great. (II, 157) 
 
 I cannot grant the boon enraptured. (II, 160) 
 Spell in lovers' primers sweetly! 
 
 Probe and dally, cosset featly. (II, 201) 
 
 Victory — word divine. (II, 218) 
 
 Then for the fairest women, fresh and rosy. (II, 233) 
 
 "•Cf. Saturday Review, September 16, 1871, p. 37o : "The introduction, 
 
 too, of the word ' fleet ' in this passage is another instance of Mr. Taylor's 
 fatal habit of impoverishing by seeking to enrich." 
 
43 
 
 Stormed through my life at first 't was grand, completely. 
 
 (II, 289) 
 With star-crown tender. (II, 310) 
 
 Again Taylor takes refuge in comparatives which do not 
 exist in the original, that he may piece out his line. Thus 
 Goethe writes: 
 
 Mit brauner Fluth erfullt er deine Hohle. 
 
 (1. 733) 
 
 Taylor translates: 
 
 
 It fills with browner flood thy crystal hollow, 
 
 (I, 30) 
 
 Goethe writes: 
 
 
 Er scheint ihr gewogen. 
 
 (1. 3203) 
 
 Taylor translates: 
 
 
 He seems of her still fonder. 
 
 (I, 145) 
 
 Goethe writes: 
 
 
 Denn von den Teufeln kann ich ja 
 
 
 Auf gute Geister schliessen. 
 
 (11. 4357-4358) 
 
 Taylor translates: 
 
 
 Since from the devils I also may 
 
 
 Infer the better spirits. 
 
 (I, 201) 
 
 Goethe writes: 
 
 
 Das neues Leben sich aus Leben schafft. 
 
 (1. 6779) 
 
 Taylor translates: 
 
 
 And newer life from its own life creates. 
 
 (11, 92) 
 
 Goethe writes: 
 
 
 Heil! Heil! aufs neue! 
 
 (1. 8432) 
 
 Taylor translates: 
 
 
 Hail ! All hail ! with newer voices. 
 
 (II, 161) 
 
 Goethe writes: 
 
 
 Ich fiihle Kraft zu kiihnem Fleiss. 
 
 (1. 10184) 
 
 Taylor translates: 
 
 
 I feel new strength for bolder toil. 
 
 (II, 233) 
 
44 
 
 Goethe writes: 
 
 Schones Gut im neuen Land. (1. 11136) 
 
 Taylor translates: 
 
 Fair estate of newer Land. (II, 275) 
 
 Goethe writes: 
 
 Da seh' ich auch die neue Wohnung. (1. 11346) 
 
 Taylor translates: 
 
 Thence shall I see the newer dwelling. (II, 284) 
 
 Of these comparatives which do not exist in the original, and 
 which lack all adequate reason for being, I have found some 
 seventy in Taylor's translation. 
 
 Similarly superlatives are piled up for which there is no 
 justification in the original text. Goethe writes: 
 
 Wer schiittet alle schonen Fruhlingsbluthen. (1. 152) 
 
 Taylor translates: 
 
 Who scatters every fairest April blossom. (I» 7) 
 
 Goethe writes: 
 
 Du Inbegriff der holden Schlummersafte. (1. 693) 
 
 Taylor translates: 
 
 Essence of deadly finest powers and uses. (I, 29) 
 
 Goethe writes: 
 
 Wie sonderbar muss diesen schonen Hals. (1. 4203) 
 
 Taylor translates: 
 
 And, strange! around her fairest throat. (I, 193) 
 
 Goethe writes: 
 
 Erst senkt sein Haupt auf s kiihle Polster nieder. 
 
 (1. 4628) 
 Taylor translates: 
 
 First on the coolest pillow let him slumber. (II, 4) 
 
 Goethe writes: 
 
 Sei als eure Zierde schon. (1. 5^3^) 
 
45 
 
 Taylor translates: 
 
 Be your fairest ornament. (II, 23) 
 
 Goethe writes: 
 
 Gesellt zu Starken, Freien, Kiihnen. (1. 9872) 
 
 Taylor translates: 
 
 And with the Strongest, Freest, Boldest. (II, 219) 
 
 Goethe writes: 
 
 Langer Schlaf verleiht dem Greise 
 
 Kurzen Wachens rasches Thun. (11. 11061-11062) 
 
 Taylor translates: 
 
 He but gains from longest slumber 
 
 Strength for briefest waking deed. (II, 271) 
 
 Goethe writes: 
 
 Den letzten, schlechten, leeren Augenblick. (1. 11589) 
 
 Taylor translates: 
 
 The latest, poorest, emptiest Moment — this. (II, 295) 
 
 Of these superlatives, which have no equivalent in the original 
 and seem to lack a logical function, I have found some eighty 
 in Taylor's translation. 
 
 Sometimes, in order to meet a deficit in his line, Taylor 
 repeats the same thought in slightly different form : 
 
 Why must the stream so soon run dry and fail us. (I, 50) 
 
 How shall we leave the house, and start. (I, 83) 
 
 The man who with thee goes, thy mate. (I, 159) 
 
 Thou'lt hear a masterpiece, no work completer. (I, 170) 
 
 On my account be kind, nor treat them rudely. (I, 186) 
 
 Here ! cast o'er 
 
 The knight your magic mantle, and infold him. (II, loi) 
 
 Sometimes, to eke out his line, Taylor adds a new thought, 
 in several cases an infelicitous new thought : 
 
 Therein thou'rt free, according to thy merits. (I, 15)" 
 Art thou, my gay one. (I, 53) 
 
 " Cf . Academy, December i, 1871, p. 529: "Sometimes the concise 
 nature of the English in comparison with the German idiom left a surplus 
 
46 
 
 The lovely land of wine, and song, and slumber. (I, 91) 
 Yet — all that drove my heart thereto, 
 
 God! was so good, so dear, so true. (I, 165) 
 
 And now Death comes, and ruin. (I, 208) 
 
 Henry! I shudder to think of thee. (I, 216)*^ 
 
 'Tis he alone invents and gives. (II, 87) 
 
 How Ulysses, lingering, learned us. (II, 112) 
 
 Shall I attain its blessing. (II, 116) 
 
 I only praise, in loving duty. (II, 119) 
 
 In spite of Fate such love to win and wear. (II, 121) 
 And roots of ancient oaks — the vilest rare ways. (II, 140) 
 The traces cannot, of mine earthly being, 
 
 In aeons perish, — they are there. (II, 295) 
 
 Tell me, sweet children, ere I miss you. (II, 301) 
 
 Occasionally Taylor relieves the poverty of English syllables 
 by forming offensive plurals. Such plurals are: blisses (I, 
 153; II, 159) ; remorses (II, 3) ; uglinesses (II, no). Leis- 
 ures (I, 65) is a bad plural, too, though it occurs for rime's, 
 not for meter's sake. 
 
 Again he pieces out his line by making the word real dis- 
 syllabic. This latter seems rather a favorite device. Instances 
 of it will be found in 1, 2, 28, 54, 1 13, 188, and II, 249.^^ Or he 
 
 of metrical space to Mr. Taylor in the filling up of which by additional 
 words of his own he is not always very successful. In the Prologue in 
 Heaven . . . ' Du darfst auch hier nur frei erscheinen.' This Mr. Taylor 
 translates by ' Therein thou'rt free, according to thy merits/ which addi- 
 tion is, to use the very mildest term, absolutely meaningless." 
 
 ^ Cf. ibid. : " Goethe also would never have thought of calling Spain the 
 lovely land of wine, song, and slumber! or letting Margaret exclaim, as a 
 climax of despairing love and agony, — 'Henry! I shudder to think (!) of 
 thee ' ; which under the circumstances, and as an equivalent of the heart 
 rending ' Heinrich, mir graut vor dir ! ' appears inconceivably flat and 
 silly." 
 
 *^ This must be somewhat annoying to Mr. Howells, who once upon a 
 time praised Taylor for not doing this very thing. Cf. Atlantic, v. 37, 
 p. 108: "In Mr. Taylor's work there is a technical perfection which 
 ... is wanting in nearly all our younger poets. ... It is not enough 
 to make musical verses ; that alone is like playing by ear ; the verses must 
 be correct : correctness may be stiff, but there is no true elegance without 
 it; and the poet who ekes out the measure of his line by making two 
 syllables of such words as heaven, even, given, and the like, and three 
 of such as difference, mystery (except at the end of a verse), may find 
 precedents enough, but not excuse amongst the masters of his art in times 
 since the best usage became law." 
 
47 
 
 throws in a gratuitous phrase, which is usually not notably 
 illuminating and therefore to be wished away. Examples are : 
 / fear w^ (I, 51) ; / fear (I, 67) ; / promise (I, 76) ; so please 
 ye (I, 80) ; 'tis not to he denied (I, 80) ; I'm thinking (I, 84, 
 89) ; in truth (I, 107) ; the fact is (II, 11) ; / insist (II, 39) ; 
 / find (II, 42) ; in short (II, 132, 297) ; / trow (II, 50) ; / vow 
 
 (11, 259). 
 
 On the whole Gretchen's song " Meine Ruh' ist hin " has 
 suffered more seriously than any other single passage from the 
 necessary evil of padding. An English reviewer, who does 
 not think the song could " be precisely reproduced by any com- 
 bination of English syllables," has put his finger accurately 
 upon its weaknesses. He says : " Goethe would scarcely have 
 made Gretchen tell us that the world is bitterness as well as gall, 
 or that her thought was lost just after she had informed us 
 that her head was ' racked and crazed ' ... we may point to 
 the subjective allusion contained in the words ' the bliss in the 
 clasp of his hand,' which is out of character with the wholly 
 objective attitude of Gretchen's mind when calling up in imagi- 
 nation the charms of her lover."®* 
 
 Taylor's departures from the original meters are few in 
 number. They occur for the most part in vers irreguliers, 
 where an occasional hypermetrical line is no very grave offense. 
 I have found but one line where it seems to me that much has 
 been lost in deviating from the original number of feet. 
 Taylor's hypermetrical line : 
 
 In yonder world, returns to me in this (II, 313) 
 
 forfeits, in my opinion, every atom of exultant charm residing 
 in the original: 
 
 Er kommt zuriick. (1. 12075) 
 
 Sometimes, for the rime's sake usually, Taylor adopts a 
 word which is at best a very insipid rendering of his original : 
 
 Death is desired, and Life a thing unblest. (I, 63) 
 
 His noble size. (I, 155) 
 
 A little thievish and a little frolicsome. (I, 169) 
 
 I hope to see you moulder. (I, 198) 
 
 "* Cf. Saturday Review, September i6, 1871, p. 370. 
 
48 
 
 ... he who changes 
 
 Shall be missed among the living. (II, 33) 
 
 I will not be, Hke others, meanly flighty. (II, 122) 
 
 Sometimes, or more accurately once, he leaves for the sake 
 of the rime the German untranslated : 
 
 To leave the kettle, and singe the Frau. (I, 106) 
 
 Once he transfers the sound, again for rime's sake, but does 
 not translate the sense : 
 
 As time, foul ass. (I, 107) 
 
 In this chapter may be properly discussed those lines in 
 Taylor's " Faust " which incorrectly or obscurely render the 
 original. Several such lines are obviously concessions made 
 to the exigencies of rime and rhythm. Others may be so. 
 
 A fine young fellow's presence, to my thinking (I, 4) 
 should read: 
 
 A fine young fellow's present, to my thinking." 
 
 "By sheer diffuseness " (I, 5) is a misapprehension of the 
 phrase " in der Breite," which should be rendered : " in the 
 world at large."^® "And never cared to have them in my 
 keeping" (I, 14) is loose for "Hab' ich mich niemals gem 
 befangen" (I, 319). It might almost appear that Taylor 
 regarded sick befangen as synonymous with fangen. 
 
 Mr. J. Henry Senger objects to Taylor's rendering of the 
 lines : 
 
 Ja, cure Reden, die so blinkend sind. 
 
 In denen ihr der Menschheit Schnitzel krauselt. (11. 554-555) 
 
 Mr. Senger says : " Bayard Taylor, in a note, justly objects to 
 taking der Menschheit as a genitive ; yet his ' shredded thought 
 like paper ' (I, 24) is, I think, far from representing the exact 
 idea. Schnitzel krduseln means ' cut up and curl paper ' (espe- 
 cially scraps of paper) for ornaments, like for instance, those 
 put round candles to receive their drippings (French bob^ches 
 de papier), the meaning, then, would be: Your glittering 
 speeches which are humanity's flimsy ornaments."®^ 
 
 " Cf. note to 1. 79. 
 «• Cf. note to 1. 93. 
 " Cf. Modern Language Notes, v. XV, no. 3, col. 164, III, 
 
49 
 
 Objection has been made to Taylor's translation of the lines : 
 
 Und doch, an diesen Klang von Jugend auf gewohnt, 
 Ruft er auch jetzt zuriick mich in das Leben. (11. 769-770) 
 And yet, from childhood up familiar with the note, 
 To life it now renews the old allegiance. (I, 32) 
 
 The critic says: "Here the omission of a substitute for the 
 pronoun 'mich/ which is grammatically questionable, and the 
 loss of the self-explanatory gender in the ' er,' render the pas- 
 sage sadly unintelligible to mortals endowed with only the ordi- 
 nary powers of vision."^^ "A slave am I, whate'er I do" 
 (I, 69) quite misses the force of " wie ich beharre," which is 
 equivalent to " as soon as I stagnate."^® " Fort ! Fort ! Ich 
 kehre nimmermehr" (1. 2730) is incorrectly rendered: "Go! 
 go! I never will retreat" (I, 119) ; and, as has been indicated 
 elsewhere, an important point has thus been lost. "Faust, 
 after a long discussion with his companion, winds up with this 
 argumentum ad hominem: 
 
 ' Wer Recht behalten will und hat nur eine Zunge, 
 Behalt's gewiss ' — (II. 3069-3070) 
 
 the meaning of which is, * Who wants to have the better of his 
 adversary in argument is sure to have it if he only possess a 
 tongue.' Mr. Taylor says: 
 
 whoever 
 Intends to have the right, if but his tongue be clever, ( I) 
 Will have it, certainly (I, 137) 
 
 which is exactly the reverse of what Goethe wishes to imply. 
 Faust means to say that he himself is by far the more clever of 
 the two, but that the Devil has the louder voice and longer 
 breath."»« 
 
 In the line " Denkt ihr an mich" (1. 3106), "Mr. Taylor 
 incorrectly makes ' Denkt ' an imperative, and by so doing robs 
 the exclamation, to our mind, of all significance."^^ Perhaps 
 in response to the foregoing complaint Taylor altered (in the 
 
 ** Cf . Saturday Review, September 16, 1871, p. 370. 
 
 " Cf. note to 1. 1 710. 
 
 •" Cf . Academy, December i, 1871, p. 529. 
 
 " Cf . Saturday Review, September 16, 1871, p. 370. 
 
 6 
 
60 
 
 Kennett edition and in all the one- volume editions from 1875 
 on) the line to: " So you but think a moment's space on me" 
 (I, 140). From his notes,®^ however, it appears that he still 
 believed denkt to be an imperative. A somewhat similar in- 
 stance is to be found in the lines : 
 
 Dost thou thy father honor, as a youth? . . . 
 
 Dost thou, as man, increase the stores of truth (I, 43) 
 
 where "a conditional sentence is mistaken for an interroga- 
 tive."^^ "By a curious blunder ... he {i. e., Taylor) over- 
 looks the gender, and consequently mistakes the antecedent of 
 the relative in the following passage : 
 
 Ergreif mein Herz, du siisse Liebespein ! 
 
 Die du vom Thau der Hoffnung schmachtend lebst. (11. 2689-2690) 
 
 The idea of pain living piningly on the dew of hope is undoubt- 
 edly a far more subtle one than that conveyed in the transla- 
 tion ; but it is unmistakably the one intended by Goethe."^* 
 
 An English critic objects to Taylor's substitution of my for 
 thy in a certain case. He says : " Gretchen is naively telling 
 Faust how his rude salutation affected her. The German runs 
 thus : 
 
 * Ach, dacht ich, hat er in deinem Betragen 
 
 Was Freches, Unanstandiges gesehen.' (11. 3171-3172) 
 
 Mr. Taylor substitutes 'my' for the German 'thy' (I, 143). 
 We are quite aware that this quaint style of addressing oneself 
 is much indulged in by Germans, even of the more educated 
 classes ; but we think it a striking characteristic of simple and 
 unsophisticated people generally, and as such it is an integral 
 touch in Margaret's portrait. "^^ Taylor is at least consistent 
 in altering this thy of self -address to my, as will be seen by 
 consulting Faust I, pp. 118, 207, and Faust II, p. 115. Taylor 
 changes likewise an ich of the original to we (II, 309). 
 
 Objection has also been made to Taylor's rendering of the 
 Hues : 
 
 Einmal recht ausgeweint (1. 3321) 
 
 •^Cf. Faust, I, note 105. 
 
 •* Cf. Academy, December i, 1871, p. 529. 
 
 "* Cf. Saturday Review, September i6, 1871, p. 370. 
 
 "" Cf. Saturday Review, September 16, 187 1, p. 370. 
 
51 
 
 which he translates: 
 
 Now, wept beyond her tears. (I, 151) 
 
 The critic says : " We find once or twice a violent effort to 
 retain even the verbal form. For instance, German 'ausge- 
 weint,' which cannot, we think, be rendered except by a cir- 
 cumlocution, is supposed to be translated by making an adjec- 
 tive of the active participle ' wept.' "®® There is no motion in 
 the preposition " an " in the line : 
 
 Und Hiift' an Ellenbogen (1. 972) 
 
 as is plainly shown by the verb " ruhten " three lines back, but 
 Taylor translates it : 
 
 And hips and elbows straying. (I, 40)" 
 
 " In's Freie " (1. 4538) does not mean " To freedom " (I, 213) 
 but " out of doors."»8 
 
 Mr. R. McLintock objects to Taylor's rendering of the 
 " Chor der Engel " (11. 757-761). Mr. McLintock says : " Ex- 
 cept for the rhyming, one would be inclined to opine them 
 (i. e., the lines of the " Chor der Engel ") not extra-difficult to 
 render in English. Yet, if my reading of them is correct, the 
 five best known of our translators — Anster, Blackie, Swanwick, 
 Taylor, Martin, and to these I will add Mr. Coupland and the 
 new anonymous * Beta ' — have all of them failed to give their 
 true sense. . . . Mr. Coupland (The Spirit of Goethe^s 'Faust') 
 with the world before him, quotes Bayard Taylor's version, 
 and so appears to stamp it with his approval. . . . What a 
 consensus ! And I am going to declare with Tennyson's 
 ' Sailor Boy,' that — ' They are all to blame ; t!hey are all to 
 
 '^ Cf. Saturday Review, September 16, 1871, p. 370. 
 
 " Cf. ibid. : " Yet though he himself (i, e., Taylor) undoubtedly shows a 
 knowledge both of the spirit and the letter of the original to which but 
 few foreigners could pretend, he forms no exception to the common human 
 liability to err. Thus, for instance, it is necessary to remind him that 
 there is no motion implied in the preposition an in the expression ' Hiifte 
 isic) an Ellenbogen,' and we are at a loss to understand how he managed 
 to get the notion of straying out of it." 
 
 '* Cf. ibid. : " One more inaccuracy must not go unnoticed. * In's Freie * 
 does not mean ' to Freedom,' as Mr. Taylor imagines, but simply into the 
 open air." 
 
62 
 
 blame ! ' In the German, Christ is the subject of the first line 
 only. Der Liebende is the friend, disciple, adherent, lover 
 (* Romans, countrymen, and lovers ! '), who had been subjected 
 to the grievous, but wholesome, discipline of seeing his Friend 
 and Master vanish and the promise seem to fail. The words 
 heilsam und iibende — so right and suitable when applied to the 
 possibly weak-kneed believer, so utterly inapplicable to Christ 
 — should have suggested to the translators that the latter could 
 not be the subject of the last four lines. And then the exact 
 parallelism of the First Angel Chorus. . . . The adjective used 
 substantively and followed by three qualifying words, with the 
 sense completed only in the last line — these things should have 
 drawn attention to the content, even though the form might 
 have to be altered in the passage into another language. Had 
 the original tongue been Greek instead of German, half a cen- 
 tury of translators would not have been allowed to follow each 
 other like a flock of sheep, each jumping from the ground as 
 he passes a given spot."®® 
 
 G. von Loper objects to Taylor's rendQring Fideler (Goethe's 
 "Faust" I, p. 212) by Good Fellow (I, 200). With other 
 good authorities he would prefer to render it Fiddler. ^^^ G. 
 von Loper adds: "Nicht Goethe's feinem Sprachsinn ist ein 
 Missbrauch des Wortes in seiner Blocksbergdichtung, viel eher 
 Taylor's Sprachgefiihl im Deutschen ein Irrtum zuzutrauen. 
 Auf Taylor kann ein Deutscher sich nicht verweisen lassen."^^^ 
 
 "Beards of beauty" (II, 10) is an inaccurate translation of 
 "Schonbarte" (1. 4767). Appearances to the contrary, the 
 schon of this word has nothing to do with beauty but means : 
 ''larve, nuiske, verderbt aus schemebart, schembart, eigentlich 
 ' bdrtige maske' . . . {der bart war in alter zeit das wesent- 
 liche bei der maske)."^^^ 
 
 One dreams of mandrake, nightly growing, 
 The other of the dog of Hell, (H, 17) 
 
 is not a particularly intelligent rendering of, 
 
 »• Cf* Academy, v. XLVIII, no. 1234, p. 568. 
 
 *°"Cf. Calvin Thomas's edition of Faust, v. I, p. 332. 
 
 "^Cf. Goethe-Jahrbuch, Band II, S. 439- 
 
 "^ Cf. Grimm, Deutsches Worterbuch, sub voce Schonbart. 
 
53 
 
 Der eine faselt von Alraunen 
 
 Der andre von dem schwarzen Hund. (11. 4979-4980) 
 
 Dem schwarzen Hund has nothing to do with Cerberus or any 
 other " dog of Hell," as v^ill be seen by consulting the note to 
 11. 4979-4980, in Professor Thomas's edition of " Faust." 
 
 I straightway put my harness on (II, 36) 
 
 is a more or less literal but not an idiomatic translation of : 
 
 Es mich sogleich in Harnisch bringt (1. 5466) 
 
 for Grimm expressly quotes this passage as an instance of the 
 " freer " or derived use of the phrase " in Harnisch bringen."^**' 
 
 Yet the crowd seems not to share in't (II, 37) 
 
 is a strange distortion of the actual grammatical conditions 
 and of the sense of the passage: — Doch er theilet nicht die 
 Menge (1. 5514). " Menge " is accusative not nominative, and 
 "theilet" means "divide" in the sense of "thrust asunder," 
 not " divide " in the sense " share." 
 
 Arrears of pay are settled duly (II, 57) 
 
 does not correctly render : 
 
 Abschlaglich ist der Sold entrichtet (1. 6045) 
 
 which means that payment "on account" has been made the 
 soldiers : 
 
 And yet, why need you stiffen? (II, 107) 
 
 does not translate : 
 
 Und doch, nicht abzuschweifen. (1. 7098) 
 
 That little one, she warms my gizzard (II, 134) 
 
 is free and not singularly felicitous for: 
 
 Die Kleine mocht' ich mir verpfanden. (1. 7773) 
 
 We have asked for eternal truth (II, 160) 
 
 "* Cf. Grimm, Deutsches Worterhuch, sub voce Harnisch ; " die formeln 
 im harnisch sein, in den harnisch bringen haben zundchst nur den sinn 
 gerustet, kriegsbereit sein, kampfgeriistet machen , , , sie werden aber 
 schon frilher als bilder fiir einen kampfbereiten, kampfgrimmen, zornigen 
 menschen gebraucht, z. b. bereits in den fastnachtsspielen , . , diese bilder 
 bewahren noch lange sp'dter ihre ganze sinnliche schdrfe , . . wenn sie 
 auch vielfach abgeblaszt verwendet werden . . , mit freierem ausdrucke 
 • . , doch wo was riihmliches gelingt, es mich sogleich in harnisch bringt." 
 
54 
 
 is a misleading translation of the line : 
 
 Wir haben ewige Treue begehrt. (1. 8418) 
 
 Taylor rendered incorrectly the line : 
 
 Des Herren Wort es gibt allein Gewicht (1. 11 502) 
 
 translating it : 
 
 God's Word alone confers on me the might. 
 
 (royal octavo edition, 1871, p. 400) 
 
 Mr. W. S. Rayner of Baltimore called Taylor's attention to 
 the error, but not until after Taylor's death was the line 
 changed to: 
 
 The master's Word alone bestows the might (II, 291) 
 
 for the uncorrected line stands in the Kennett edition and in 
 the royal octavo reprints of the first edition as late at least as 
 i879.^«* 
 
 The criticisms passed by Professor J. M. Hart upon Taylor's 
 translation are somewhat more subtle. They are specific but 
 might readily be made to apply to the entire translation. Pro- 
 fessor Hart writes : " Mr. Taylor says, on page 12 of his 
 preface, ' There are words, it is true, with so delicate a bloom 
 upon them that it can in no wise be preserved.' We suspect 
 that ' Faust ' contains more such words than Mr. Taylor would 
 be willing to admit ; and not single words merely, but colloca- 
 tions of words, engendering a grace or a force that no second 
 arrangement can hope to preserve. . . . Our theory is simply 
 this : Does any given translation produce, in its parts and as an 
 entirety, the same impression that the original would give, if 
 read with a good understanding of the language and the acces- 
 sories of time and place? Does the translation call forth ex- 
 actly the same emotions and shades of emotion ? Does it make 
 precisely the same appeals to our sensuous, our imaginative, 
 
 "* Taylor's unpublished reply to Mr. Rayner reads in part : " I thank 
 you for calling my attention to the line you quote. My translation is un- 
 doubtedly incorrect. As it was written nearly six years ago, I cannot 
 recall what cause led me to translate Herr as ' God ' instead of ' lord ' 
 or * master,' — but I was probably misled by one of the many commentaries 
 which I then studied, in order to acquaint myself with all varieties of 
 interpretation." 
 
55 
 
 our reflective nature? Does it take the same hold on our ear 
 and heart? If this theory is reasonable, we feel constrained to 
 yield to Lewes' dictum, that no translation can be to us what 
 the original is. At best it is merely an approximation, and the 
 further question becomes one of degree rather than of quality. 
 . . . The reader of ' Faust ' will remember the magnificent 
 description of the tempest on the Brocken. . . . Mr. Taylor's 
 translation of it is an admirable rendering, we will not deny, 
 but below the original in several particulars. Girren and 
 Brechen are applied to the branches, and have the force of our 
 ' moaning ' and ' snapping ' ; whereas the ' Drohnen ' of the 
 heavier trunks is to be rendered by the more forcible ' quaking ' 
 or 'groaning.' They cannot be said to * thunder' until they 
 fall, which comes afterwards. The ' Knarren ' and the ' Gahnen * 
 of the roots are not fully represented by * twisting asunder,' 
 but rather by ' screaking ' and * wrenching.' The original 
 ' iibertriimmerten Kliifte ' is much more expressive than 
 'wreck-strewn gorges.' It means 'gorges heaped up to the 
 top and over with wreck.' Finally ' surges ' is a word prop- 
 erly applied to the commotion of water, not of air. The force 
 of the original is best given by 'the winds are hissing and 
 howling.' . . . 
 
 "Again, Faust's rhapsody, on seeing the archetype of wo- 
 manly beauty in the witches' mirror. . . . Can we truthfully 
 admit that the one has the direct, burning eloquence of the 
 other? Does the translation bring out, so far as half way, the 
 despairing contrast between heaven and earth in the original? 
 . . . Then the word 'mated' destroys the climax by redun- 
 dancy. We pass to another instance, where the discrepancy 
 is more palpable — the fearful sarcasm with which Mephistoph- 
 eles (as Faust) lashes the law, to the utter confusion of the 
 poor student who has come to the Doctor for advice. . . ." 
 Taylor's translation "sounds like Mephistopheles with the 
 venom extracted. Laws are emphatically not ' fitted ' from 
 generation to generation, according to Mephistopheles. They 
 are not changed, but merely ' drag themselves ' from age to 
 age, ' crawling softly ' from place to place. ' Plage * is here at 
 least to be rendered by ' curse,' ' torment ' ; ' worry ' being far 
 
56 
 
 too feeble. The concluding line, 'This to consider, there's, 
 alas ! no hurry,' utterly fails to reproduce the exquisite Mephis- 
 tophelian sneer: Of that (our natural right as man), good 
 lack! we never hear the mention! Let us content ourselves 
 with examining the naively brutal couplet of the Theatre Di- 
 rector : . . ." Taylor's " version certainly has no taint of bru- 
 tality about it, whereas the original means, in so many words : 
 If you give yourself out for a poet, why trot out your poetry, 
 as a drill-sergeant would his squad."^^^ 
 
 Professor Hart evidently felt, as did a reviewer in the 
 Aldine, that, " There is, running through the whole and con- 
 tinually cropping out in marked relief, that subtle dissonance 
 of a half note or so which makes all the difference between 
 harmony and its opposite. . . . The original ... is in much 
 the same relation to the translation that an air perfectly played 
 or sung would bear to the same music persistently executed — in 
 technical parlance — ' half a note off.' "^®® 
 
 "» Cf. Galaxy, March, 1871, p. 464- 
 
 "•Cf. Aldine, review of Taylor's Faust, March, 1871, p. 4i« 
 
CHAPTER III 
 The English of Taylor's Translation 
 
 Professor Barrett Wendell, speaking of " Faust " as Taylor's 
 " most meritorious work," says : " The result in no wise re- 
 sembles normal English."^ Professor Barrett Wendell does 
 not attempt to establish his assertion. The scope of his book 
 did not permit that. It can be shown, however, that he is 
 in some degree correct. It can be shown furthermore that 
 much in Taylor's translation, which "in no wise resembles 
 normal English," can be traced in source to a recognized ex- 
 cellence of the translation — its formal fidelity.^ 
 
 Taylor says : " My own task has been cheered by the dis- 
 covery that the more closely I reproduced the language of the 
 original, the more of its rhythmical character was transferred 
 at the same time."^ It was this meticulous fidelity to the text 
 of the original, which frequently induced Taylor to stretch the 
 English idiom until it snapped. Where Taylor is un-English 
 he is usually German. 
 
 Un-English are the nominalized adjectives, which Taylor 
 persists in using. But they are excellent German. Dr. Kruger 
 justly says: "Die Kraft des Englischen, Eigenschaftsworter 
 zu Hauptwortern zu erheben, ist gering."* Bayard Taylor 
 constantly oversteps that which is permitted in this regard. 
 Nor does it, to my mind, help the matter any that he for the 
 most part writes these nominalized adjectives with large initials. 
 
 Thus Goethe writes, "Und nennt die Guten" (1. 15), and 
 Taylor translates all too faithfully, "And names the Good" 
 
 * Cf. Barrett Wendell, A Literary History of America, pp. 455-458. 
 
 ' Cf. Scribner's Monthly, v. 19, p. 266 : " The characteristics of Taylor*s 
 ' Faust ' are sympathetic quality, rapid poetic handling, absolute fidelity 
 to the text." 
 
 ' Cf. Faust, I, pref., p. xiv. 
 
 * Cf. Dr. Gustav Kriiger, Englische Ergdnzungsgrammatik und Stilisti- 
 sches, Dresden und Leipzig, 1898, p. 41. 
 
 57 
 
58 
 
 (I, i). "The Good" may mean one of two things in Eng- 
 lish. It may indicate either the abstract quality of goodness 
 as in the phrase, "the good, the beautiful, the true," or it 
 may be an universal term, equivalent to "all those persons 
 characterized by the quality of goodness." But it cannot, by 
 any stretch of English idiom, refer, as in Goethe it does refer, 
 to some few good persons previously specified by the poet. 
 
 When Taylor offers us, "Escape from the Created" (II, 
 68) for "Entfliehe dem. Entstandenen " (1. 6276); "And 
 find, alas! my near-related" (II, 132) for "Und finde leider 
 Nahverwandte " (1. 7741) ; "Leave her, the Ugly" (II, 133) 
 for "Lass diese Garstige" (1. 7752); "Certainly, ye Inex- 
 perienced!" (II, 208) for "Allerdings, ihr Unerf ahrnen ! " 
 (1. 9595) ; "Save Coarse were drudging . . . Would Fine be 
 able" (II, 26) for " Denn wirkten Grobe . . . Wie kamen 
 Feine " (11. 5207-5209) ; " Displays the Marvellous, that each 
 desires" (II, 76) for "Was jeder wiinscht, das Wunder- 
 wiirdige schauen " (1. 6438), we are struck, it must be con- 
 fessed, by the literalness of the rendering; but literalness 
 ceases to be a virtue, if it leaves us mentally groping for the 
 noun, which, according to English idiom, ought to follow, but 
 does not. 
 
 Goethe's lines, " Ihm fehlt es nicht an geistigen Eigen- 
 schaften, Doch gar zu sehr am greiflich Tiichtighaften " (11. 
 8249-8250), are translated by Taylor, "He has no lack of 
 qualities ideal. But far too much of palpable and real" (II, 
 153). Here the lesser fault is the unfinished air which the 
 unsupported adjectives create. The sense is ambiguous, and 
 the impression given the reader of Homunculus becomes in- 
 evitably erroneous. Only one acquainted with the original text, 
 I fancy, will know that he is to understand the noun " lack " 
 after the word "much." 
 
 Taylor offends against normal English by an ill-advised 
 affectation of inversion. He believed that " English metre com- 
 pels the use of inversions."'' And this perverse belief led 
 him to construct sentences, many of them, which approxi- 
 mate more closely the German ideal than the English standard 
 
 " Cf. Faust, I, pref., p. xiv. 
 
59 
 
 of sentence structure. It may be conceded that English syntax 
 exhibits no adamantine rules concerning word-order; but there 
 are certain broad principles, which good usage approves and 
 affects. 
 
 In the first place word-order plays its part in poetry as in 
 prose.^ It is only an inferior or a lazy poet who is satisfied 
 to let the logical and the metrical stress fall asunder. Secondly 
 the approved word-order in English is, generally speaking, 
 subject, verb, object. And that man only, who by departing 
 from this word-order, achieves the most delightful or the 
 most powerful of poetic effects, is pardoned for the departure. 
 " The English language," says Professor Barrett Wendell 
 " has fewer inflections than almost any other known to the 
 civilized world; that is, each word has fewer distinct forms 
 to indicate its relations to the words about it. All nouns 
 have possessives and plurals; all verbs have slightly different 
 forms for the present and the past tense ; but this is about all. 
 In English, then, the relation of word to word is expressed 
 not by the forms of the words, but generally by their order; 
 and any wide departure from the normal order of a sentence 
 — in brief, subject, verb, object — is apt to alter or to destroy 
 the meaning . . . what ' Nero Agrippina killed ' may mean, 
 nobody without a knowledge of the facts can possibly decide. 
 What is true of this simplest of sentences is true in a general 
 way of any sentence in the English language. Good use has 
 settled that the meaning of one great class of compositions in 
 English — namely, of sentences — shall be indicated in general, 
 not by the forms of the words which compose them, but by 
 the order. Except within firmly defined limits, we cannot alter 
 the order of words in English without violating good use ; and 
 in no language can we violate good use without grave and 
 often fatal injury to our meaning. . . . While, on the one 
 hand, then, we who use uninflected English are free from the 
 disturbing array of grammatical rules and exceptions which 
 
 ' Cf. Specimens of the Table Talk of the late Samuel Taylor Coleridge, 
 Harper and Brothers, New York, 1835, p. no: "The definition of good 
 Prose is — proper words in their proper places — of good Verse — the most 
 proper words in their proper places." 
 
60 
 
 so bothers us in Latin or in German, we are far less free 
 than Romans or Germans to apply the principles of composi- 
 tion to the composing of sentences."^ 
 
 Thirdly, it is recognized that by removing a word from 
 its natural order we draw attention to that word.® It is 
 agreed that the beginning and the end of a sentence (es- 
 pecially the end of a sentence) are points of peculiar emphasis.® 
 If we distort words of slight importance from their natural 
 position or thrust them to the beginning or to the end of the 
 sentence, we are offending against "ease," and consequently 
 against the normal English approved by good use. " Ease," 
 says Professor Hill, "prohibits an arrangement that throws 
 the emphasis <?n, and thus causes a suspension of the sense 
 at, a particle or other unimportant word (as in this sentence). 
 Such an arrangement is hostile to clearness, for it obliges the 
 mind to halt at the very points which it would naturally hurry 
 over; it is also hostile to force, for it emphasizes words that 
 do not * deserve distinction ' at the expense of those that do."^* 
 
 Taylor employs inversion sometimes to the point of am- 
 biguity. He writes: 
 
 Ah, every utterance from the depths of feeling 
 The timid lips have stammeringly expressed, — 
 Now failing, now, perchance, success revealing, — 
 Gulps the wild Moment in its greedy breast : ^ 
 
 If the reader here depend solely upon his knowledge of Eng- 
 lish word-order, he will, according to Professor Barrett Wend- 
 ell's arrangement of subject, verb, object, interpret "utter- 
 ance " as a nominative and " Moment " as an accusative. Not 
 
 'Cf. Barrett Wendell, English Composition, p. 36 f. 
 
 • Cf. A. S. Hill, Principles of Rhetoric, p. 207: " Any order which seems 
 natural to the persons addressed is easier, as well as more forcible, than 
 one which strikes them as strange and by its strangeness calls their atten- 
 tion from the substance to the form of the sentence." 
 
 " Cf. Alexander Bain, English Composition and Rhetoric, v, I, p. 3, § 6 : 
 " As a rule the least prominent position in the sentence, is the middle. 
 Hence for giving prominence we must choose either the beginning or the 
 END." Cf. ibid,, p. 4, § 9 : " Both usage and reason agree in regarding the 
 END of the sentence as the place of greatest strength of emphasis." 
 
 " Cf. A. S. Hill, Principles of Rhetoric, p. 198. 
 
 "Cf. Faust, I, p. 4. 
 
61 
 
 until he turns to the original text, can he be quite certain that 
 he is wrong. 
 
 Quite as bad English as it is good German is Taylor's prod- 
 igal use of the capital. Instances of this habit will be found 
 on almost every page of the " Faust." One of the critics 
 writes facetiously : " In his use of capitals for substantives 
 he (i. e., Taylor) surpasses the inscrutable freaks of Mr. 
 Carlyle himself. Thus, for instance, he speaks of the time 
 when ' brooded Evil evil is begetting,'^^ though it would not be 
 easy to discover any superiority in point of dignity which the 
 progenitor in this case possesses over his offspring. The 
 funniest instance of this capriciousness we have found occurs 
 in no less solemn a passage than the Chorus of Blessed Boys, 
 where we have — ' For so tender unto all, it is, To Be.'^^ This 
 unexpected exaltation of such a modest preposition and such 
 a diminutive verb affects us very oddly."^* 
 
 The responsibility for this most un-English mannerism ought 
 not, however, to be laid entirely at the door of German in- 
 fluence. For we shall find Taylor composing his prose notes 
 (and that too where he is not translating) in much the same 
 fashion.^' It may be objected that Taylor usually came fresh 
 from Diintzer and Leutbecher when he wrote his notes. Hence 
 German practice still maintained its hold upon him. But refer- 
 ence to any volume of Taylor's poems, from " Rhymes of 
 Travel " to " Prince Deukalion," will convince the skeptical 
 that the phenomenon of lavish capitalization, as exhibited 
 throughout Taylor's work, ought not to be solely ascribed to 
 German influence. 
 
 In the Encyclopaedia Britannica^^ we read: "As a critical 
 friend^'' has written of him, ' his nature was so ardent, so full- 
 
 "Cf. Faust, II, p. 10. 
 
 " Cf. Faust, II, p. 307. 
 
 "Cf. Saturday Review, October 7, 1871, PP. 466 ff. 
 
 " Cf. Faust, II, Notes, p. 463 ; " Love is the all-uplifting and all- 
 redeeming power on Earth and in Heaven ; and to Man it is revealed in 
 its most pure and perfect form through Woman." 
 
 " Cf. Encyclopaedia Britannica, sub voce Taylor, Bayard. 
 
 " The reference is to Mr. Stedman who uses these words in his article 
 on Taylor in Scribner's Monthly, v. XIX, p. 84. It is hardly possible 
 that two men would express the same thought in precisely the same 
 
62 
 
 blooded, that slight and common sensations intoxicated him, 
 and he estimated their effect, and his power to transmit it to 
 others, beyond the true value.' He felt life as perhaps only the 
 poetic temperament can experience the beauty of the world; 
 single words thus became for him so charged with poetry that 
 he overlooked the fact that to most people these were, simply 
 in themselves, mere abstract terms — sunshine, sea, spring, 
 morning, night, and so forth. Thus a stanza having absolutely 
 nothing original or striking or even poetic in it would, because 
 bom of him, seem to be poetry unadulterate : to his mind, each 
 line, each word, was charged with delightful significance, there- 
 fore — so he felt — would be so also to the sympathetic reader." 
 It may be then that Taylor looked upon capitalization as a 
 device whereby the reader might be induced to take words, as 
 Taylor himself took them, at more than their face value. 
 
 When Goethe writes, " Ein guter Rath ist auch nicht zu 
 verschmahn" (1. 7849), Taylor is precipitated into a pitfall by 
 his zealous striving after fidelity. He translates, " Good coun- 
 sel, also, is not to reject" (11, 136). It is not possible in 
 English, however (save in some few idiomatic expressions), 
 to employ, as the German regularly does, an active infinitive 
 in a passive sense. 
 
 In true German fashion Taylor lets his reader wait unduly 
 for the preterite participle. Sentences like, " I have not snares 
 around thee cast" (I, 58), "Thou hast it destroyed" (I, 65), 
 " Has then my cry To yonder sky. The course of Nature from 
 its orbit stirred" (II, 139), "And now by him beforehand to 
 his city sent" (II, 165), are modelled closely after their Ger- 
 man prototypes, as may be seen by reference respectively to 
 11. 1426, 1608, 7911-7913, 8525. Even where the original text 
 does not drive him to it, Taylor will prefer a German to an 
 English cadence, as when he writes, " The outer angle, you 
 may see. Is open left" (I, 57). 
 
 Of the inversion of the subject after an adverb or other 
 word not modifying the subject, I have found some one hun- 
 dred and twenty-five examples in Taylor's translation. In 
 
 words, yet Mr. Smyth ascribes the above quotation to R. H. Stoddard. 
 Cf. Smyth's Bayard Taylor, p. 267. 
 
63 
 
 many of these cases, indeed, in seven of the fifteen which I 
 shall quote, it will be seen that the inversion was not forced 
 upon Taylor by the particular sentence in the original, which 
 he happened to be rendering. Certain of these inversions, 
 together with similar instances of the relegation of the preterite 
 participle to the end of the sentence, seem, therefore, to be due 
 to fidelity in a larger sense, to an affectation, whether studied 
 or unconscious, of the usage of German syntax. Thus Taylor 
 writes, " Christ no more found we " (I, 31), "Obedience, more 
 than ever, claims he" (I, 36), "Yet in the word must some 
 idea be" (I, 79), "Yet always doesn't the thing succeed" 
 (I, 114), "When, piece by piece, can one the thing abroad 
 display" (I, 127), "For painful is it" (I, 170), "Pity they 
 the luckless man" (II, 3), "Favor I this cheerful place" (II, 
 31), "How warned I Paris" (II, 148), "Now float we con- 
 tented" (II, 155), "Each other behold we not" (II, 189), 
 " Forth from us with swiftness ran he " (II, 216), " Once with 
 the last breath left the soul her house" (II, 296), "Love- 
 pangs felt they" (II, 309), and " No longer needs the alphabet 
 thy nation" (II, 58). In this last instance the word-order is 
 so ambiguous that the reader cannot be quite sure whether the 
 alphabet has ceased to need the nation or vice versa. 
 
 Taylor, still faithful to German syntax, holds his infinitives 
 in abeyance until he has arrived at the end of his sentence. In 
 the examples which are about to be cited, as indeed in the 
 hundred other instances which might be quoted, this idiosyn- 
 crasy was not always forced upon the translator by the corre- 
 sponding sentence in the original. German word-order seems 
 to have been fluttering perpetually before his mind's eye, and 
 German cadences seem to have been singing in his ear. He 
 writes: "What use, a Whole compactly to present" (I, 5), 
 "But might, the while, more useful be" (I, 9), "Who dares 
 the child's true name in public mention " (I, 25), " One yearns, 
 the rivers of existence, the very founts of Life to reach " 
 (I, 49), "Who would himself therefrom deliver" (I, 69), 
 " And, God ! who can the field embrace " (I, 80), " Can woman, 
 then, so lovely be" (I, 105), "By storm she cannot captured 
 be" (I, 115), "What can within it be" (I, 121), "Shall that 
 
64 
 
 a nosegay be" (I, 143), "One dares not that before chaste 
 ears declare" (I, 151), "One that to her can a candle hold" 
 (I, 168), "Meanwhile, may not the treasure risen be" (I, 
 169), "Could I thy withered body kill" (I, 174), "One must 
 not so squeamish be" (I, 192), "How can I its meaning men- 
 tion" (II, 37), "How can he in the cheat confide" (II, 52), 
 "Things can't in Heaven more cheerful be" (II, 57), "Thou 
 wilt my whispers like a master heed" (II, 75), "Let me this 
 labyrinth of flames explore" (II, 106), " One must with mod- 
 em thought the thing bemaster" (II, 106), "Express thyself, 
 and 'twill a riddle be" (II, 108), "And most impatient am, 
 my glass to shatter" (II, 136), "Let him an honest soldier 
 be" (II, 261), "Than rich to be" (II, 280), "The traces can- 
 not, of mine earthly being. In aeons perish" (II, 295), "Let 
 me in the azure Tent of Heaven, in light unfurled. Here thy 
 Mystery measure" (II, 310), "But at once shall gentle be" 
 
 (11,311). 
 
 In German we are accustomed after a relative pronoun or a 
 subordinate conjunction, to find the finite verb quite at the end 
 of the sentence. In reading Taylor's translation we gradually 
 grow to expect the same phenomenon. In this usage Taylor 
 follows his model very closely. The sentences which I shall 
 quote, as well as some ninety others which I have noted, are 
 all constructed with pronounced literalness after the corre- 
 sponding lines in Goethe. Taylor writes: "What you the 
 Spirit of the Ages call" (I, 25), "The few, who thereof 
 something really learned" (I, 25), "As thou, up yonder, with 
 running and leaping. Amused us hast" (I, 49), "Which no- 
 where worthier is" (I, 50), "And when thou in the feeling 
 wholly blessed art" (I, 158), "The man who with thee goes " 
 (I, 159), " When thou, still innocent, Here to the altar cam'st" 
 (I, 175), " But howso'er she hasten may " (I, 183), " He ne'er 
 will fly, who now not flies" (I, 185), "But if you forwards 
 go" (I, 191), "He snuffles all he snuffle can" (I, 199), "For 
 such discourses very dangerous be" (II, 14), "How much the 
 scamp to promise seems" (II, 41), "It almost seemed as if I 
 Pluto were" (II, 55), "When I to thee Thessalian witches 
 name" (II, 100), "If this would only longer last" (II, 135), 
 
65 
 
 "For here, where spectres from their hell come" (II, 136), 
 "Though erewhile, by spells nocturnal. Thee Thessalian hags 
 infernal. Downward drew" (II, 145), "Which the true man 
 comfort gives" (II, 158), "When I here with Clytemnestra 
 sister-like. With Castor and with Pollux sporting grew" (II, 
 164), "Now when all things in order thou inspected hast" 
 (II, 167), "Yet that I Her, Horrible, here with eyes behold" 
 (II, 172), " When thou thine arms so fair Charmingly liftest" 
 (II, 215), "Let happen all that happen can" (II, 255), "Art 
 thou Baucis, who the coldly Fading mouth refreshment gave " 
 (II, 272), " When they to me the information gave " (II. 294). 
 
 It is frequently the case that a German sentence will close 
 with an adverbial particle. This is excellent usage in German, 
 but it is poor usage in English, since it gives an unimportant 
 word the most prominent position in the English sentence — ^the 
 end, and is consequently destructive of the quality which Pro- 
 fessor A. S. Hill calls "ease." Examples of this un-English 
 usage in Taylor's translation are : " A German can't endure the 
 French to see or hear of" (I, 95), "By the chimney out" 
 (I, 102), "I go so little out" (I, 163), "The sword Thy heart 
 in" (I, 166), "It hangs like lead my feet about" (II, 17), 
 "This softly heaving brine on" (II, 162), "It rises heaven- 
 ward up " (II, 186), "As with the month they come, and cooked 
 with appetite in " (II, 264), " Whack! was she caught, and fast 
 my claws her hide in" (II, 297). 
 
 Inelegant English, much better German in fact than English, 
 are compounds formed of the particles " there," " where," and 
 " here " plus some preposition or other. Taylor uses rather too 
 many of them.^^ Goethe's Gretchen may say : " Doch ^alles 
 
 "Examples are: "therein" (I, 7, 15, 50, 119, 153, 170, 190; II, 18, 36, 
 67, 95, 118, 191, 230, 237, 242, 24s, 310), "thereat" (II, 236), "there- 
 after" (II, 72, 240, 287), "thereof" (I, 25), "thereto" (I, 50, 58, 65, 
 69, n, 165; II, 46, 69, 147, 170, 174), "therefor" (I, dd'), "therefrom" 
 (I, 69, 132; II, 126, 137, 197), "therewith" (I, 70, 93, 151, 170, 190; II, 
 IS, 232), "thereon" (I, 76, 127, 156, 183, 190, 212; II, 44, 255), "there- 
 unto" (I, loi), "thereby" (II, 143, 188), "thereout" (I, 120), "where- 
 unto" (II, 233), "whereon" (I, 20, 193; II, 61, 106, 170), "whereto" 
 (I, 20, Tz', II, 167), "whereby" (I, 24, 101), "wherefrom" (I, 25, 109, 
 178; II, 106, 195), "wherewith" (I, 64; II, 84, 141, 175, 270), "wherein" 
 (I, 108), "whereof" (I, 192; II, ^2, 271, 292), "herein" (II, 19), 
 "hereon" (II, 230), "hereby" (II, 266). 
 6 
 
66 
 
 was dazu mich trieb, Gott! war so gut! ach war so lieb!" 
 (11. 3585-3586). But Taylor's Gretchen ought not to prate 
 after her: "Yet — ^all that drove my heart thereto, God! was 
 so good, so dear, so true!" (I, 165). The word "thereto" 
 might reasonably occur in some legal statement of Gretchen's 
 wrongs, but it is quite out of keeping with the simplicity of 
 Gretchen's own vocabulary, with the unaffected sadness of her 
 mood, and with the lyric tenderness of the lines. Again 
 Goethe may write properly enough : " So oft er trank daraus " 
 (1. 2766). But Taylor, when he writes modem English, may 
 not imitate such usage. "As oft as he drank thereout" (I, 
 120), is an impossible construction, since "out" now-a-days 
 is an adverb and does not lend itself to a combination with 
 "there," "here," or "where." 
 
 I am aware that in a larger English grammar — such as that 
 of Maetzner or of Bain — one can find whole lists of inversions 
 successfully ventured upon by the best English poets. Keats 
 wrote : 
 
 Much have I travelled in the realms of gold 
 And many goodly states and kingdoms seen; 
 Round many western islands have I been." 
 
 Wordsworth, the champion of prose word-order in poetic dic- 
 tion, wrote: 
 
 O joy! that in our embers 
 
 Is something that doth live.** 
 
 And Tennyson wrote : 
 
 Of old sat Freedom on the heights. 
 The thunders breaking at her feet : 
 Above her shook the starry lights.^ 
 
 When we read such inversions we are conscious usually of 
 some charm, distinction or force which has been gained by 
 means of them. The great English poets were masters and 
 language for the most part did their will. As Shakespere has 
 it, " Nice customs curtsy to great kings." Where there is no 
 
 " Cf. On first looking into Chapman's Homer. 
 * Cf. Ode on Intimations of Immortality, 
 ^ Cf. On a Mourner, 
 
67 
 
 gain in grace, distinction or force, the use of inversion, even 
 in the work of poets of established repute, has been censured 
 by competent critics. Walter Savage Landor, in the Imagi- 
 nary Conversation between Porson and Southey, makes Porson 
 say that the phrases " have I required " and " have I desired " 
 in the first stanza of Wordsworth's " Laodameia " are " worse 
 than prosaic." Wordsworth himself agreed with Landor in 
 this matter, and made some seemingly unsuccessful effort to 
 banish the offending inversions.^^ 
 
 When we read the inversions and transpositions of Taylor's 
 translation, we seek in vain any sort of poetic compensation 
 for them ; we are affected solely by their strangeness, their all 
 too apparent necessity, and by Taylor's thraldom to his instru- 
 ment. That these inversions are due in part to a touching 
 fidelity to the original fails to reconcile us to them. 
 
 There remain certain inelegancies of diction which can 
 hardly be referred directly to the influence of the German. 
 Taylor deviates from normal English in his use of clipped 
 forms, without the justification of such expedient in his orig- 
 inal. As Poe somewhere inquires, " What can be well said in 
 defense of the unnecessary nonsense of ' ware ' for ' aware ' ? "^* 
 Taylor employs ware for aware (II, 282), stead for instead 
 (II, 60, 179, 189, 309), minishing for diminishing (II, 273), 
 twixt for betwixt (I, 45; II, 197), wildering for bewildering 
 (I, 71, 180; II, 74), scape for escape (I, 107; II, 134), mid 
 for amid (I, 11 ; II, 162, 205), neath for beneath (II, 41, 272, 
 283), em for them (II, 65), i for in (II, 17), o for of (I, 12). 
 Moreover, there is an annoyingly constant recurrence of " 't is " 
 and " 't was " and " 't were " throughout the entire text. 
 
 It is a pity, I think, that Taylor did not employ the pronoun 
 ye, " As carefully discriminated, especially in the older English, 
 the nominative and vocative being ye and the dative and accu- 
 sative you."^^ The English in which the distinction continued 
 to be made is not excessively old. We find the usage still 
 observed in Byron. Taylor must at least have credit for having 
 
 ^ Cf. Walter Savage Landor, by John Forster, v. 2, p. 25. 
 
 ^ Cf. E. A. Poe, The Literati, review of E. B. Barrett's poems. 
 
 ** Cf. Century Dictionary, sub voce ye. 
 
68 
 
 been fairly consistent in the course he chose to pursue. He 
 writes: "I find ye" (I, i),^^ "bind ye" (I, i), "Be the reign 
 assigned ye" (I, i), "my father used ye" (I, 28), "What ails 
 ye" (II, 45), "unknown to ye" (II, 66), "ye I hail" (II, 
 164), "from ye" (II, 168), "To save herself, and ye appen- 
 dages with her" (II, 182), "I call ye" (II, 263), "upon Ye 
 Five" (II, 266), "God's high Presence strengthens ye" (II, 
 308), "The teacher before ye" (II, 308), "Peace is yet with 
 ye" (11,128). 
 
 Bayard Taylor is often guilty of imperfect rimes. But we 
 should regard it as a very considerable feat if any man turned 
 out the twelve thousand odd lines of " Faust " with a faultless 
 rime in every instance. Goethe himself did not accomplish 
 that.^® Moreover, Taylor has taken the sting from criticism by 
 admitting his defects in this respect.^^ He says : " I make no 
 apology for the imperfect rhymes, which are frequently a trans- 
 
 ^ Cf . review of Taylor's Faust in the Independent : " Mr. Taylor's 
 * I find ye ' is purely a signal of distress for rhyme, having no equivalent 
 in the original. Can he have thought that any ' subtile and haunting music ' 
 here required him to violate a plain rule of English grammar for the 
 sake of ' find ye ' rather than ' find you ' ? " 
 
 ^ Cf . A. Bielschowsky, Goethe : Sein Leben und seine Werke, v. II, p. 
 262 : " Die Form des Faustfragments ist der Hans Sachsche Knittelters, 
 die Ausdrucksweise natiirlich, oft geradezu derb, der Reim schlagend, aber 
 nicht immer rein, zuweilen sogar dialektisch recht unrein." Cf. also 
 Herrig, A. f. d. S. d. n. S., v. XV, 331 ff.. Dr. Daniel Sanders says " Dass 
 er (i. e., Goethe) sich viele unreine Reime erlaubt hat, bedarf der Erwahn- 
 ung nicht ; namentlich reimt er von Vokalen, e, a, 6, mit einander ; 
 ebenso i mit ii ; eu und ei, und beachtet die Scharfung und Dehnung der 
 Vokale nicht immer." 
 
 Cf. Der M'dcen, Berlin und Leipzig, sine dato, by Detlev von Liliencron, 
 p. 58 : " Platen reimte rein, und das konnen die Deutschen durchaus nicht 
 leiden ; sofort werden sie misstrauisch : Das kann doch kein Dichter sein, 
 der uns reine Reime schenkt. Mir ist ein unreiner Reim wie eine Ohrfeige. 
 Deshalb wird es mir auch so schwer, einen von mir zu den Hochsten 
 geschatzten Dichter, Martin Greif, zu lesen. Seine Reime, ahnlich wie 
 bei Morike, Schiller, Goethe, sind gradezu Seelenmorder. Es ist mir eine 
 Unerklarlichkeit : ein Dichter muss doch starken Sinn fiir guten Klang 
 und Schonheit haben ; es muss ihm doch weh tun, ihn schmerzlich bertihren, 
 wenn er unrein reimt oder unreine Reime hort. Aber nein, es hilft nichts. 
 Selbst Gottfried Keller reimt Erde und Gefahrte. 
 
 " Wenn die Deutschen nicht mehr Teufel auf Zweifel reimen diirften, 
 fiihren sie ohne Zweufel zum Teifel." 
 
 " Cf. Faust, I, pref., p. xv. 
 
69 
 
 lation as well as a necessity." And in the matter of rime we 
 ought reasonably to be lenient with a man who attempts to 
 English a work containing the line : 
 
 Auf Teufel reimt der Zweifel nur;"* 
 
 Nevertheless, there are, I think, certain imperfect rimes so 
 offensive to normal English that they are less tolerable than 
 others. Among them are the so-called Cockney rimes, which 
 deliberately invite to vulgar or slovenly pronunciation. There 
 are a number of these rimes in Taylor's " Faust." Indeed, they 
 have been detected in some of Taylor's work that was not 
 translation.^® In English it is offensive to rime -in (or -en) 
 to -ing, as Taylor sometimes does: 
 
 On Sundays, holidays, there's naught I take delight in . . . 
 
 The foreign people are a-fighting (I, 36) 
 
 For us be suing . . . 
 
 Calling to ruin. (1*38) 
 
 I see the plan thou art pursuing: 
 
 Thou canst not compass general ruin. (I, 55) 
 
 Thou'lt find, this drink thy blood compelling. 
 
 Each woman beautiful as Helen. (I, 112) 
 
 The sword Thy heart in, 
 
 With anguish smarting. (I, 166) 
 
 Are good to fish and sport in . . . 
 
 With even devils consorting. (I, 199) 
 
 Doors and entrances are open ! 
 
 Well, — at last there's ground for hoping. (II, 89) 
 
 Incline, O Maiden, 
 
 With Mercy laden. 
 
 In light unfading. (II, 313) 
 
 Other bad rimes are : 
 
 Man's misery even to pity moves my nature; 
 
 I've scarce the heart to plague the wretched creature. (I, 13) 
 
 * Cf. Faust, I, 1. 4361. 
 
 ^ Cf. Athenaeum, no. 2666, p. 686, review of " Prince Deukalion " : 
 " Mr. Taylor falls into rhymes which, were he an Englishman, would be 
 called Cockney. In one of the earliest lyrics we find thus ' whistle ' as a 
 rhyme to ' dismissal.' Subsequently * repentance * rhymes to ' sentence,* 
 and ' harden ' to ' pardon.' The occasional example of great poets may 
 be advanced in palliation of this method of forcing rhymes, but cannot 
 justify it." 
 
70 
 
 Therein thou'rt free, according to thy merits . . . 
 
 Of all the bold, denying Spirits. (I, 15) 
 
 And have a care to be most civil . . . 
 
 So humanly to gossip with the Devil. (I, 15) 
 
 I am no hair's-breadth more in height, 
 
 Nor nearer to the Infinite. (I, 73) 
 
 By level ways I've wandered hither, 
 
 Where rubble now is piled together. (II, 135) 
 
 Three have we brought hither. 
 
 The fourth refused us altogether. (II, 150) 
 
 Quite as bad as Whittier's famous couplet are the lines : 
 
 Were not the first and second, then 
 
 The third and fourth had never been. (I, "jy) 
 
 Worst of all perhaps is the following: 
 
 The broom it scratches, the fork it thrusts, 
 
 The child is stifled, the mother bursts. (I, 183) 
 
 Taylor again deviates from normal English by introducing 
 archaic, obsolete and dialectic forms, which are all the more 
 reprehensible since they are not the equivalent of the original 
 text. Archaic^® are such forms as nathless (I, 69; II, 68, 93, 
 178), drave (I, 74), fere (I, 106; II, 187), dighted (II, 272),^^ 
 fain as an adverb, which is constantly recurring as a handy 
 equivalent of the German monosyllabic gem (I, 29, 75, y6, 80, 
 93, 115, 128, 178, 184, 196, 210; II, 23, 34, 81, 97, 132, 136, 
 147, 153, 165, 169, 180, 191, 217, 223, 247, 250, 274, 294), 
 vagrance (I, 197), childed (II, 125), joyance (I, 115), an in 
 the sense of if (I, 58), eke (I, 61), drunken in the predicative 
 use (I, 64), the verb won or wone, of which Taylor uses the 
 third person singular preterite indicative (I, 28), fa/re in the 
 sense of travel, proceed (I, 45; II, 37), fray in the sense of 
 affray (I, 63), sprent the preterite participle of spreng (II, 55, 
 302), hight (I, 17), ^ez'in (II, 253). 
 
 ^ These words are pronounced archaic or obsolete on the authority of the 
 Century Dictionary. 
 
 " Not only is the verb dight archaic, but Taylor has formed the 
 preterite participle incorrectly. Cf. Century Dictionary sub voce dight, 
 where the preterite participle is given as dight. 
 
71 
 
 Dialectal is the form "abcx>n."^=^ It is "northern English 
 or Scotch."^^ " Thee " as a nominative is a Quakerism.^* It 
 is the " perverted use of the obj. thee " affected by the Friends.^** 
 At least that seems a rather natural way of explaining it, for, 
 while Bayard Taylor's " family was not formally in the Society 
 of Friends, they adhered generally to the principles of the 
 Society. His mother, although brought up in the Lutheran 
 faith, became attached to the Quakers early in life, and taught 
 her children the fundamental doctrines of the Society, as well 
 as naturally adopted the manners and ways which prevailed in 
 the region."^® At times Taylor employed Quaker mannerisms 
 in his letters.^^ But it is possible nonetheless that Taylor him- 
 self would have preferred to explain his "thee" nominative 
 as Elizabethan usage.^^ "Already once" is a Teutonism in 
 the line 
 
 Already once was I so blest." 
 
 Precisely what Bayard Taylor meant by the word wreak in 
 such sentences as : 
 
 Body and soul thereon I'll wreak. (I, y6) 
 
 His grace the sculptors could not wreak. (II, 119) 
 
 I am not prepared to say; hardly (wenge, inflict, or execute, 
 yet these are the significations of that word. 
 
 The number of actual solecisms discoverable in Taylor's 
 work is comparatively small. The " Century Dictionary " does 
 not recognize the archaic childed in that sense in which it is 
 
 " Cf. Faust, II, p. 4. 
 
 ^ Cf. Century Dictionary sub voce aboon. 
 " Cf. Faust, I, p. 66. 
 ^ Cf. Century Dictionary sub voce thee. 
 ^ Cf. Life and Letters, v. I, pp. 11-12, 
 " Cf . Life and Letters, v. I, p. ii. 
 
 ^ Cf . E. A. Abbott, Shakespearian Grammar, p. 141, §212; "Verbs fol- 
 lowed by thee instead of thou have been called reflexive. But though 
 
 * haste thee,* and some other phrases with verbs of motion, may be thus 
 explained, and verbs were often thus used in E. E., it is probable that 
 
 * look thee' ' hark thee,' are to be explained by euphonic reasons. Thee, 
 thus used, follows imperatives which, being themselves emphatic, require 
 an unemphatic pronoun. The Elizabethans reduced thou to thee" 
 
 ~Cf. Faust, II, p. IIS. 
 
72 
 
 obviously employed by Taylor, as a synonym of pregnant.*^ It 
 records no verb to bliss, as employed by Taylor in the line : 
 
 I blissed it all this livelong night. (I, 209) 
 
 And it does not recognize Taylor's adjective impermeate.^^ It 
 does not approve the noun festal as used by Taylor in the lines : 
 
 To festals calm and cheery. (II, 150) 
 
 Leading these festals cheery. (II, 151) 
 
 No excuse can be offered for Worser (II, 264), or the pleo- 
 nastic ^wc/t /^^^ (11,270). Nor is it in accordance with English 
 usage to say: two only races (II, 14), out of place to (I, 50), 
 prevent to do (I, 63), succeed to do (I, 190), or 
 
 None ever see you, none are seen by you. (II, 142) 
 None of all the wooers here 
 
 Now around thee hover. (II, 25) 
 
 By this marvel profit none. (II, 124) 
 
 Bayard Taylor's inversions and other departures from nor- 
 mal English strike us by reason of their strangeness, not by 
 reason of their felicity. At cost of them he has made no gain 
 in charm, distinction or force. It is evident that when he 
 composed his " Faust," German, not English, cadences were 
 singing in his ear ; and we are very ready to believe Professor 
 Smyth when he says : " He knew by heart the entire First Part 
 of * Faust' and most of the Second; and he frequently made 
 his translation from the ring of the original in his ear and not 
 from a perusal of the printed page."*^ 
 
 And after all this is but an instance of the Scylla and 
 Charybdis, which is common to all translation, according to 
 Wilhelm von Humboldt, who wrote : " Alles Ubersetzen scheint 
 
 *» Cf. Faust, II, p. 125. 
 
 " Cf. Faust, I, p. S3. Cf. also Life and Letters, v. II, p. 553, where 
 Taylor writes : " I thought the . . . 's would amuse you. Don't be 
 deceived by the fellow seeming to know English. What he says of 
 impermeate is infernal nonsense. I suppose he would say that immingle 
 means not to mingle. He doesn't know that im is the Latin inter in this 
 case, and perfectly correct." The blank doubtless is to be filled in with 
 the name of the Rev. W. C. Wilkinson, who reviewed Taylor's Faust in 
 the Independent and objected at considerable length to this word impermeate, 
 
 **Cf. A. H. Smyth, Bayard Taylor, p. 182. 
 
73 
 
 mir schlechterdings ein Versuch zur Auflosung einer unmog- 
 lichen Aufgabe. Denn jeder Ubersetzer muss immer an einer 
 der beiden Klippen scheitem, sich entweder auf Kosten des 
 Geschmacks und Sprache seiner Nation zu genau an sein 
 Original, oder auf Kosten seines Originals zu sehr an die 
 Eigentiimlichkeit seiner Nation zu halten. Das Mittel hier- 
 zwischen ist nicht bloss schwer, sondem geradezu unmoglich."*^ 
 
 *^This is an extract from a letter written by Humboldt to A. W. von 
 Schlegel, July 23, 1796.. It will be found quoted by Paul Cauer in Die 
 Kunst des Ubersetzens, p. 4. 
 
CHAPTER IV 
 Concerning the Poetic Worth of Taylor's Translation 
 
 There are persons perhaps who would consider this chapter 
 superfluous. Professor Barrett Wendell, for example, main- 
 tains that Bayard Taylor "never undertook to turn * Faust' 
 into an English poem,"^ In this statement, it is probable that 
 Professor Barrett Wendell intends that the accent shall rest 
 upon the word " poem," since he had already told us that the 
 translation " in nowise resembles normal English."^ I think 
 that Professor Barrett Wendell must be mistaken. If Bayard 
 Taylor did not imagine that he was writing poetry, he would 
 hardly have tricked out his translation, at cost of much patient 
 toil, with all the outward garb of poetry, simply that it might 
 the better remind us of what it was not. 
 
 We know that Taylor aspired to produce " nothing less than 
 the English ' Faust.' "^ We know that when his work was 
 done he was persuaded that he had produced ''the English 
 'Faust,' which will henceforth be the only one."* And we 
 know furthermore that he believed that the production of such 
 an English " Faust " was " the next thing to writing a great 
 original epic."^ Mrs. Taylor says too that it was her hus- 
 band's intention to make an English poem of " Faust." There- 
 fore since it seems probable that Taylor intended his trans- 
 lation of " Faust " to be a poem, we are justified, I think, in 
 inquiring whether it is or is not poetical. 
 
 Boyesen thinks, on the one hand, that it is poetical. He says : 
 "Of the many translations of * Faust,' I regard Bayard Tay- 
 lor's as the best. Its shortcomings have been ably stated both 
 
 * Cf. Barrett Wendell, Literary History of America, p. 458. 
 « Cf. ibid, 
 
 ' Cf. Life and Letters, p. 458. 
 
 * Cf . Life and Letters, p. 551. 
 " Cf. Life and Letters, p. 511. 
 
 74 
 
75 
 
 by friendly and unfriendly critics ; but these are, to my mind, 
 compensated for by a poetic afflatus which distinguishes the 
 book and proves it to be the work of a poet. ... I believe I 
 am acquainted with all translations of * Faust ' into English, 
 and I have, after much study, come to the conclusion that 
 Taylor's unites more excellences than any of the others. If 
 I were to state its claim to superiority in one word, I should 
 say that, generally speaking, it is poetry/'® On the other hand, 
 Mr. Dennett says : " That he (i. e., the reader) really gets the 
 poem qua poem, apart from its metres, more fully and surely 
 by reason of Mr. Taylor's labors in verse than if that gentleman 
 had put his translation into prose or had corrected Hayward, 
 we do not think; in our opinion the poetical translation of 
 ' Faust ' Mr. Taylor has not brought essentially nearer."^ 
 
 After one has read diligently in the prefaces to " Faust " 
 and in the letters written by Taylor while he was making his 
 translation, and immediately after its publication, one carries 
 away a single word as characteristic of the undertaking. This 
 word is " labor." Thus Taylor reiterates : " I have at least la- 
 bored long and patiently."^ " Such time as I can spare . . . 
 is devoted to my translation of 'Faust' — a heart-rending yet 
 intensely fascinating labor."® " In concluding this labor of 
 years."^^ " I have been working day and night on ' Faust ' 
 since I saw you, and now that the work is just about finished, 
 I shall feel thoroughly worn out, exhausted, used up, collapsed, 
 effete, intellectually impotent. I only hope there will be some 
 little recognition of my labors in the end."^^ "Yet, after all, 
 the translation was not more laborious than the preparation of 
 the Notes."^^ " The labor has been an immense advantage in 
 the way of drill."^^ " My labors on the First Part were so 
 
 " Cf. H. H, Boyesen, Essays on German Literature, English Translations 
 of Goethe, 1898, p. 119. 
 
 ' Cf. Nation, March 23, 1871, p. 201. 
 " Cf. Faust, I, pref., p. xvi. 
 • Ct. Life and Letters, p. 458. 
 " Cf. Faust, II, pref., p. xiv. 
 " Cf. Life and Letters, p. 535. 
 " Cf. Life and Letters, p. 537. 
 " Cf. Life and Letters, p. 537. 
 
76 
 
 severe and steady that I narrowly escaped a fever, and some 
 rest was absolutely necessary."^* ^' If my * Faust ' is what I 
 mean it to be, it will have a permanent place in translated 
 literature. No one else is likely, very soon, to undertake an 
 equal labor."^^ "There is long, severe, and conscientious 
 labor in the volume."^^ " In three weeks, D. V., the MS. of 
 that (i. e.y the Second Part), also, will be completed; and I 
 foresee that the long foregone freedom will make me seem 
 quite lost and restless, — as a man suddenly thrust out of peni- 
 tentiary, after seven years of solitary labor ! "^^ " When you 
 see the volume {i. e., the Second Part), you will guess how 
 much laborious research was necessary."^^ "The fact is, my 
 labors in 'Faust ' almost broke me down completely."^^ " It 
 (i. e.y "Faust") cost me years of the severest labor."^® "It 
 (i. e., " Faust") was by no means a happy inspiration: it was 
 the result of hard and honest labor."^^ We can imagine many 
 excellent things resulting from so much labor — but hardly 
 poetry.^2 
 
 " Cf. Life and Letters, p. 539. 
 
 " Cf. Life and Letters, p. 540. 
 
 " Cf. Life and Letters, p. 549. 
 
 " Cf. Life and Letters, p. 549. 
 
 " Cf. Life and Letters, p. 552. 
 
 " Cf. Life and Letters, p. 561. 
 
 ** Cf. Life and Letters, p. 631. 
 
 ^Cf. Lippincott, August, 1879, p. 211. These quotations suggest a line 
 in the American Literature of Miss K. L. Bates (p. 194) : " The master 
 of * towered Cedar-croft ' was still the terrible toiler." Cf. also Works 
 of Percy Bysshe Shelley, edited by Harry Buxton Forman, London, 1880, 
 V. VII, p. 137: "I appeal to the greatest poets of the present day, whether 
 it is not an error to assert that the finest passages of poetry are produced 
 by labour and study. The toil and the delay recommended by critics, can 
 be justly interpreted to mean no more than a careful observation of the 
 inspired moments, and an artificial connexion of the spaces between their 
 suggestions by the intertexture of conventional expressions ; a necessity 
 only imposed by the limitedness of the poetic faculty itself; for Milton 
 conceived the Paradise Lost as a whole before he executed it in portions. 
 We have his own authority also for the muse having ' dictated ' to him 
 the 'unpremeditated song.' And let this be an answer to those who 
 would allege the fifty-six various readings of the first line of the Orlando 
 Furioso. Compositions so produced are to poetry what mosaic is to 
 painting." 
 
 ^'Cf. North American Review, v. 128, p. 508: "His (t. e., Taylor's) 
 method was rather the method of painstaking labor than of quick insight. 
 
77 
 
 Taylor once wrote concerning translation to an acquaintance, 
 and remarked incidentally relative to his own method : " What 
 would you say to my hunting up twenty or thirty synonyms 
 for every chief word in a quatrain, and then spending two or 
 three hours in making them fit in the best possible form?"^* 
 We should say that such a process might produce a curious, 
 an ingenious mosaic of no little intellectual interest — ^but hardly 
 poetry. 
 
 Some thirty years before Taylor published his " Faust," a 
 writer in Blackwood's Magazine considered the subject of the 
 poetical translation of the poem. His advice to the prospective 
 translator of " Faust " in verse may be reduced to that given 
 the Dichter by the Director: 
 
 So commandirt die Poesie!" 
 
 The translator's verses may not order him about, they may 
 not drive him to vagaries of sentence structure, of vocabulary, 
 of grammar. For all these things emphasize the unreality of 
 the vehicle, the impotence of the poet. " What we desire to 
 be made to feel to a great extent in every work of art, is the 
 power of the artist. We behold nothing worth looking at, 
 unless we behold him exercising a triumphant mastery over 
 untractable and refractory materials. Like Van Amburgh with 
 his tigers, he must make language lie down at his feet, kiss 
 his hands, and follow him whithersoever he will. But when 
 we find him permitting his verse to interfere with the natural 
 
 On one occasion ... a hearer said to him that his method recalled 
 a visit he had made, a few days before, to the studio of Church, who had 
 on his easel the celebrated picture of Niagara . . . the visitor put to the 
 artist the obvious question, * How soon will the work be finished ? ' The 
 artist measured the canvas with his eye, and quietly said that, at the rate 
 of his proceeding, so many days in the week, so many hours in the day, 
 the picture would be completed in about two weeks. He worked steadily, 
 gaining ground inch by inch, and was certain that, if each detail was 
 conscientiously executed, the final result would be harmonious to the eye 
 and true to nature. Mr. Taylor was struck and gratified by the com- 
 parison. ' Yes,' said he, ' that is the way. Put the parts together, and 
 you make the whole.' But this is not the way of genius ; and genius, it is 
 commonly allowed, Mr. Taylor had not. He may have had what is more 
 serviceable, but he had not that." 
 ^ Cf. Life and Letters, p. SSi. 
 
 ^ Cf. 1. 221. 
 
78 
 
 idiom and arrangement of his speech, we behold this exhibi- 
 tion reversed; the language has here got the upper hand of 
 the artist, and we are made sensible of nothing but his weak- 
 ness — an unpleasing object of contemplation at all times.''^** 
 Elsewhere we think we have shown that Bayard Taylor has 
 done many of those things which he ought not to have done. 
 " His language," to use the words of yet another English re- 
 viewer concerning yet another doer of " Faust " into English 
 verse, "is hardly ever natural or idiomatic, hardly ever such 
 as any human being but a namby-pamby rhymester would 
 employ; the adjectives follow and precede the substantives, 
 and the nominatives and accusatives the verbs, not according to 
 any rules of grammar or idiom, but according as may be found 
 necessary to complete the scanning or final jingle of the lines; 
 and when, as often happens, the most forced inversion proves 
 insufficient to supply the required quantity or accentuation of 
 syllables, it is" Bayard Taylor's "wont to add or substitute 
 some wretched nonsense of his own."^® 
 
 We are warranted, I think, in requiring of Taylor's trans- 
 lation, as Professor Calvin Thomas requires of Goethe's 
 " Faust," that both parts " stand or fall as poetry."^^ In the 
 case of Taylor's " Faust " we cannot add, as Professor Thomas 
 does of Goethe's : " And they are going to stand." The truth 
 of the matter is this. If we judge by the eye alone. Bayard 
 Taylor's " Faust " certainly does resemble Goethe's " Faust." 
 There is the same varying length of line, the same masses of 
 recitative vers irreguliers relieved by stanzaic lyrics, the same 
 infrequent patches of prose; and all these things in just that 
 order with which we are familiar in Goethe. If we judge by 
 the ear alone. Bayard Taylor's " Faust " still resembles Goethe's 
 "Faust," although not as closely as when we judged by the 
 eye. There is the same alternation of varying meters, the 
 same feet and the same cadences assume much their wonted 
 order, there is usually rime where Goethe has taught us to 
 expect it, there is usually none where Goethe has omitted it, 
 
 ** Cf. Blackwood's Magazine, v. 47, p. 223. 
 
 * Cf. Fraser, v. p. 88 ; review of Blackie's and Syme's translations. 
 
 " Cf. Goethe's Faust, edited by Calvin Thomas, v. II, pref,, p. i. 
 
79 
 
 and in several cases there is a reproduction of an original 
 leonine rime.^® 
 
 It is when we come to judge Bayard Taylor's " Faust " with 
 our intelligence and our aesthetic sense that we conclude it 
 is not poetry, and that too quite aside from occasional prosy, 
 awkward, inelegant or sometimes unparsable lines like these: 
 
 ... for any 
 Will finally, himself, his bit select. (I, 5) 
 
 . . . what mean perturbation 
 Thee, superhuman, shakes. (I, 22) 
 
 That brain, alone, not loses hope, (I, 26) 
 
 Who knows not their sense 
 (These elements), — 
 Their properties 
 And power not sees, — 
 No mastery he inherits 
 Over the Spirits. 
 
 Thyself hast led thyself into the meshes. 
 Brightlier 
 Build it again. 
 
 Each one learns only — just what learn he can. 
 Allow me that my album first I reach you. 
 I feel so small before others. 
 Yet always doesn't the thing succeed. 
 Yourself, perhaps, would keep the bubble. 
 Ladies with him delighted are. 
 Your courtesy an easy grace is. 
 My darling, who shall dare 
 " I believe in God ! " to say. 
 Live with the like of him, may I never. 
 Thou, monster, wilt nor see nor own 
 How this pure soul, of faith so lowly. 
 So loving and ineffable, — 
 The faith alone 
 
 That her salvation is, — with scruples holy 
 Pines, lest she hold as lost the man she loves so well. (I, 161) 
 . . . For painful is it 
 
 To bring no gift when her I visit. (I, 170) 
 
 That arbitrarily, here, ourselves we isolate. (I, 183) 
 
 *Cf. Faust, I, p. 40; II, p. loi. 
 
 (I, 
 
 52) 
 
 (I, 
 
 58) 
 
 (I, 
 
 6s) 
 
 (I. 
 
 80) 
 
 (I. 
 
 81) 
 
 (I. 
 
 82) 
 
 (I, 
 
 114) 
 
 (I, 
 
 119) 
 
 (I. 
 
 134) 
 
 (I. 
 
 139) 
 
 (I, 
 
 IS7) 
 
 (I. 
 
 IS9) 
 
80 
 
 But there enigmas also knotted be. (I, i86) 
 
 Go a- foot no more we can, (I, 201) 
 
 Like water in leaky pipes — don't come. (II, 12) 
 
 But deepliest hidden, wisdom may detect it. (II, 14) 
 
 Motley fancies blossom may. (II, 24) 
 
 Know that, given to me for wearing, 
 
 Lately were the shears supplied. (II, 31) 
 
 Steel and poison I, not malice, 
 
 Mix and sharpen for the traitor. (II, 33) 
 
 Through the crowd you see it wend not. (II, 37)** 
 
 But, clearlier seen, 'tis slave that fights with slave. (II, 100) 
 
 Then they conceive, themselves have found it out. (II, 91) 
 
 How should these dark surroundings suit his 
 
 Desires, when them I scarce can bear. (II, 99) 
 
 The mimic woods enkindled are. (II, 53) 
 
 I've not said nothing, that I know. (II, 100) 
 
 To whom the Impossible is lure 
 
 I love. (II, 123) 
 
 If she, in a single night, 
 
 The Pygmies brought to light, 
 
 Pygmiest of all she'll create yet. 
 
 And each find his mate yet. (II, 128) 
 
 I try the tall one, yet she worse is. (II, 134) 
 
 Three have we brought hither. 
 
 The fourth refused us altogether: 
 
 He was the right one, said he, — 
 
 Their only thinker ready. (II, 150) 
 
 And where to move, thy will be free. (II, 157) 
 
 So spake he, urging my departure; but no thing 
 
 Of living breath did he, who ordered thus, appoint. 
 
 That shall, to honor the Olympian God's, be slain. (II, 167) 
 
 Kindest one, thee, — we, the happy. (II, 168) 
 
 This the king not indicated. (II, 180) 
 
 Ah, may not to us the tones not also. 
 
 Stead of deliverance promised. 
 
 Ruin announce at the last! — 
 
 Us, the swan-like and slender. 
 
 Long white throated, and She, 
 
 Our fair swan begotten. (II, 189) 
 
 "The not in this sentence ought properly to modify see, which one 
 would hardly guess from its present position. 
 
. . . sport of every breeze 
 
 That blows mischance or luck ! and neither ever ye 
 
 Supported calmly. (II, 190) 
 . . . One is sure to contradict 
 
 The others fiercely, and cross-wise the others her. (II, 190) 
 
 And all was over with the West. (II, 196) 
 Majesty here not withholds its 
 
 Secretest raptures. (II, 201) 
 
 And thus warns the faithful father: "Dwells in earth the 
 
 forms elastic." (II, 209) 
 
 That me hath won. (II, 213) 
 
 Danger his arrogance brings. (II, 220) 
 
 Queens, of course, are satisfied everywhere. (II, 224) 
 For allure us yonder distant, richly-mantled mountain ranges. 
 
 (11, 225) 
 
 Yes ! mine eyes not err. (II, 228) 
 
 Tis nothing new whatever that one hears. (II, 234) 
 
 The riot rose, the riot was consecrated. (II, 237) 
 
 Not man, nor God, nor Devil, him could save. (II, 245) 
 
 Must personally be worthy of the same. (II, 246) 
 Swift shall he punish when he learns the truth — the latter. 
 
 (II, 268) 
 
 Gave the mandate not the herald. (II, 274) 
 The royal wealth 
 
 Displease him must. (II, 278) 
 
 Inwardly his darkness dense is. (II, 290) 
 
 Nothing, indeed, can longer one confide in. (II, 296) 
 
 Tricked so in one's old days, a great disgust is. (II, 304) 
 Thou, in immaculate ray, 
 
 Mercy not leavest. (II, 311) 
 
 Thou Thy presence not deniest. (II, 312) 
 
 Will richher love us. (II, 313) 
 
 We shall hunt up and down the five hundred odd pag-es of 
 Taylor's text in vain for any couplet that we may set over 
 against Shelley's: 
 
 The giant-snouted crags, ho ! ho ! 
 How they snort and how they blow! 
 
 That is true of the verses of Taylor's "Faust" which was 
 said of other verses of Taylor. They are " most distinctly not 
 7 
 
82 
 
 born nympharum sanguims — not flush with immortal youth, 
 full of the lux alma of the other world. Metrical difficulties 
 of astonishing intricacy are overcome in some of the lyrics 
 . . . but there is no vivifying breath, no line that sticks, or 
 stings, or sings."^^ That Bayard Taylor's translation is not 
 poetic should surprise no one. 
 
 To produce a lineal, literal, rime and rhythm preserving 
 translation of " Faust " is a task greater than any man has yet 
 performed. To require that such a translation be also poetical 
 is to demand the impossible.^^ But even if Bayard Taylor had 
 not bent his efforts toward the production of a facsimile of 
 the outward " Faust," I still question whether he could have 
 given us a poetic "Faust." Taylor was a journalist rather 
 than a poet. He lacked the nice discrimination of a poet. 
 Ideas came to him in such form as would have made them 
 serve admirably as leaders in the Tribune, but he insisted 
 on making poems of them. Thus the self-conscious virtue of 
 the Transcendentalists, and their confident belief in their ability 
 to direct their own destiny, were repellant to Bayard Taylor. 
 So he made the thing into a poem and called it " My Mission."^^ 
 He discovered that the uses of the flesh are not all sinful, and 
 that one may be righteous without church affiliations, and he 
 made a poem about that, calling it " Penn Calvin."^* He was 
 much displeased at the suggested substitution of physiology for 
 sentiment as a basis for love and marriage. He put the matter 
 into poetry and called it " Cupido."^* 
 
 " The Masque of the Gods " and " Prince Deukalion " are 
 exaggerated examples of this lack of nice discrimination. 
 " The Masque of the Gods " has been described as " an essay 
 in comparative theology written in the form of a dramatic 
 
 ^ Cf. Critic, V. 2, p. 195. 
 
 '^ Cf. Nation, v. 29, p. 387, " We leave out of account in our censures 
 such poetical translations as Taylor's * Faust,' and, perhaps, Longfellow's 
 * Dante,' for translating poetry is, after all, contending with impossibilities." 
 
 '^'Cf. The Poems of Bayard Taylor, 1866, p. 254. This poem is omitted 
 in the definitive edition of 1902. 
 
 ^'Cf. The Poetical Works of Bayard Taylor, Household Edition, 1902, 
 p. 312. 
 
 ^Cf. The Poetical Works of Bayard Taylor, Household Edition, 1902, 
 p. 149. 
 
83 
 
 poem."^'' The seat of the evil in " Prince Deukalion " has 
 been indicated facetiously in this wise : " It would in any case 
 require great skill to make us see a real woman in a being who 
 has been labelled at the beginning the Mediaeval Ecclesiastical 
 System; and neither in her case nor in the other characters, 
 whose principle of life is not so plain, has Mr. Taylor breathed 
 into his creations any very vigorous life or brought about any 
 illusion."^® In brief, Bayard Taylor had the intelligence of a 
 well-trained journalist; he had not the emotions or the nice 
 discrimination of a poet. 
 
 That he was still the journalist when he translated " Faust " 
 was emphasized in an article which appeared a few days after 
 his death. " To point out this stimulating, strengthening, edu- 
 cating tendency of his literary work is only another way of 
 saying that in his books as elsewhere he was first of all a 
 journalist. As a journalist it was his business to make his 
 learning vicarious; he observed and studied that other men 
 might know; he wrote as a journalist must whose gift and 
 duty it is to give to others the fruits of his activity; whose 
 business it is to inform himself in order that he may inform 
 his readers, and to cultivate himself in order that his judg- 
 ments may be sound, his thinking wise, his teaching whole- 
 some. Whithersoever he went and whatever he did he was 
 always the journalist above everything else, and whatever form 
 circumstances might give to the productions of his pen, whether 
 he wrote articles for newspapers, books or lectures, his work 
 was always essentially that of the journalist enthusiastically 
 eager to share with the public whatever he knew or thought or 
 felt. . . . So, too, in his translation of ' Faust,' which, upon 
 the surface, appears to have been a purely literary work, the 
 impulse of the journalist is present. It was because he saw in 
 ' Faust ' that which English-speaking men had never had an 
 opportunity to see, that he sought, in translating the poem, to 
 
 '^ Cf. New York Evening Post, April 6, 1872. 
 
 ®* Cf. Nation, v. 27, p. 337. Cf. also review of Prince Deukalion, 
 Athenaeum, no. 2666, p. 686, " Our author will make few converts, for he 
 will obtain few readers. He has something to say, but it is doubtful if 
 verse is the best medium by aid of which to say it. It is at least a 
 medium in which he works with difficulty." 
 
84 
 
 give us Goethe's masterpiece in its fulness. It was precisely 
 as if he had discovered such a poem in manuscript somewhere, 
 and had sent it to the Tribune as a piece of news. He had 
 news of a grander poem in ' Faust * than English-speaking 
 men had yet known in it, and it was to tell that news that he 
 made his supremely good translation."^^ 
 
 Moreover, the translation of " Faust " is written in Bayard 
 Taylor's second manner, which is even less poetical than his 
 first manner.^^ Taylor's first manner, which he affected for 
 a considerable period, largely because it enabled him to sail 
 the seas of literature prosperously from the start,^® was char- 
 acterized by an immature exuberance of rhetoric,*** which might 
 have been made to serve more artistic ends, had Taylor enjoyed 
 the advantage of intelligent criticism. Intelligent criticism, 
 however, came to Taylor sparsely, partly because the critics 
 were not inclined to give it to him, partly because he himself 
 did not wish it. Much literary criticism in America, at the 
 time Taylor put his earliest volumes of poetry upon the market, 
 savored of opera bouffe.^^ Frequently it was recklessly en- 
 
 " Cf. New York Evening Post, December 20, 1878. 
 
 ^ Cf. Nation, v. 39, p. 401 : " In Bayard Taylor's growth, however, there 
 seem to have been two lives, so marked was the change in his nature; and 
 he has, in fact, left two reputations in consequence — one widespread and 
 established, the other narrower in its range and of doubtful permanence." 
 
 '" Cf. Athenaeum, no. 2670, p. 853 : " As is not uncommon in the case 
 of clever citizens of the United States, he (i. e., Taylor) considered him- 
 self fitted for the vocation of a poet. There are few villages in the 
 States which do not contain several young men and women who are 
 ranked among poets because they are assiduous in writing verses. More 
 fortunate than thousands of his countrymen and countrywomen, this aspirant 
 for fame saw his verses in print, an easy thing in a land abounding in 
 newspapers filled with gratuitous contributions, but he attained the rare 
 distinction of being paid for his early rhymes. They appeared in the 
 New York Mirror and Graham's Magazine, and yielded their author forty 
 dollars." 
 
 "Cf. Critic, V. 2, p. 169: "He (t. e., Taylor) delighted in the ornate, 
 the sonorous, the rhetorical." 
 
 *^As a specimen of the informality of the literary comment of that time, 
 we submit a paragraph from a reputable magazine (Cf. Graham's Maga- 
 zine, December, 1848, Editor's Table, p. 366): "A life-like portrait of 
 our friend and co-laborer, J. B. Taylor, graces this number of the 
 Magazine. We know our readers — our fair ones especially — will admire 
 him ; and we would remark, en passant, for their information that well- 
 
85 
 
 comiastic or unconvincingly vituperative. Toward Taylor it 
 was so f riendly*^ that it became common to speak of his " good 
 luck."*^ 
 
 The plaudits of the critics were agreeable to Taylor. He 
 had a life-long aversion to harsh or corrective criticism. I 
 presume that is why men like Longfellow, Lowell, Whittier, 
 Mr. Stedman and Mr. Howells, who could have given him 
 
 looking (sic) as he unquestionably is, his merits in this particular are 
 fully equalled by his good qualities of head and heart." 
 
 Cf. also John Godfrey's Fortunes, ed, of 1865, p. 227; "John Godfrey" 
 is speaking of Leonora's Dream, and Other Poems, but we may assume, 
 I think, that it is really Bayard Taylor speaking of Ximena, and Other 
 Poems, He says : " All these notices I cut out and carefully preserved 
 in a separate pocket of my portfolio. I have them still. The other day, 
 as I took them out and read them over with an objective scrutiny in 
 which no shadow of my former interest remained, I was struck with the 
 vague, mechanical stamp by which they are all characterized. I sought 
 in vain for a single line which showed the discrimination of an en- 
 lightened critic. The fact is, we had no criticism, worthy of the name, 
 at that time. Our literature was tenderly petted, and its diffuse, super- 
 ficial sentiment was perhaps even more admired than its first attempts 
 at a profounder study of its own appropriate themes and a noble asser- 
 tion of its autonomy. That brief interregnum in England, during which 
 such writers as Moir, B. Simmons, T. K. Hervey, and Alaric A. Watts 
 enjoyed a delusive popularity, had its counterpart on our side of the 
 Atlantic. All our gentle, languishing echoes found spell-bound listeners, 
 whom no one — with, perhaps, the single exception of Poe — had the will 
 to disenchant." 
 
 *^Thus the Albion (November 8, 1851) makes Taylor in a breath equal 
 to Shelley and superior to Keats and Tennyson. A reviewer in the 
 Literary World (January 13, 1849), who granted that "Mr. Taylor's vol- 
 ume ... is an advance upon his previous publication " and conceded 
 that " much is to be allowed to youthful enthusiasm, in an author who 
 always preserves delicacy and taste, and who must soon learn to be the 
 severest judge of his own productions," said furthermore that " all is not 
 poetry which goes trippingly " and that he " could have wished indeed 
 something of restraint in the rhetoric." This discordant note in the 
 general chorus of Taylor's praise, was more or less drowned out by Edgar 
 Allan Poe's indignant trumpetings of remonstrance. (Cf. Poe, Literati, 
 p. 207.) No one seems to have perceived that the great poet rushed to 
 Taylor's defense not because he loved Taylor and his poetry more but 
 because he loved the reviewer of the Literary World considerably less. 
 
 *^ Cf . N. Y. Evening Post, November 21, 1863: "He (i. e., Taylor) has 
 won the smiles of enterprising publishers, if not the plaudits of approving 
 readers, and in no way has he suffered from the embarrassments of author- 
 ship, excepting, perhaps, those which follow an unusual run of good luck." 
 Cf. Southern Literary Messenger, v. 18, p. 13: "The rise of Mr. Bayard 
 
86 
 
 helpful criticism, never (as far as we can judge from their 
 printed letters to him) attempted to prune his talent. They 
 sent him pleasant letters of congratulation on the appearance 
 of his various works, and, as Professor Woodberry says, *'he 
 hoarded up his commendations from *the poets,' and over- 
 valued their meaning."** James T. Fields once ventured to 
 find some lines in " Notus Ignoto " unpoetical. The futility of 
 his or any similar effort at criticism is patent from Taylor's 
 reply, which runs in part : " Like similar things of Shelley, it 
 may be read here and there with a wrong accent, and I suspect 
 this is just what you have done. Of all your criticisms I only 
 feel that what you say of the last two lines of the first stanza 
 is partly true. Those lines are rather grave and heavy for the 
 airy, spiritual movement of the poem. The other lines which 
 you call ' especially bad,' are not only good but some of them 
 especially good, and I don't know that I can change one of 
 them."*« 
 
 Of Taylor's better work in his first manner, the " Bedouin 
 Song " may fairly serve as an example. It fails to carry the 
 conviction of a genuine love lyric, because, like Heine's " Er- 
 klarung,"*^ although in less degree, it " doth protest too much " 
 and too loudly; the "superb refrain"*^ is prejudicial to the 
 
 Taylor in the literary world has been exceedingly rapid. Five years ago 
 he was altogether unknown ; now he figures in the common-place books of 
 selected poetry, and disputes with Halleck and Willis the first place in 
 lyrical composition on this side of the Atlantic. . . , Mr, Bayard 
 Taylor has been uniformly lucky in his literary enterprises. We say 
 lucky because while we are ready to accord him all rightful praise (and 
 that warmly) we are yet of the opinion that his rise has not been alto- 
 gether legitimate and that there has been an uncommon degree of humbug 
 in the manner of achieving it." 
 
 ** Cf. Nation, v. 39, p. 401. Cf. Trent, History of American Literature, 
 p. 463 : " Lowell pronounced the latter (t. e.. Picture of St. John) to 
 be the most finished and sustained American poem, with the exception of 
 Longfellow's Golden Legend. This judgment is typical of the over- 
 enthusiastic reception Taylor's kind friends, who loved the man and 
 knew his aspirations, constantly accorded to his work in verse." 
 
 " Cf. Life and Letters, p. 505. 
 
 *" Cf. Heine's S'dmtliche Werke, herausgegeben von Prof. Dr. Ernst 
 Elster, V. I, p. 170. 
 
 "Mr. Stedman (Scribner's Monthly, v. 19, p. 81) says, speaking of the 
 Bedouin Song, " the refrain is superb." Later when he came to revise 
 his article on Taylor (Poets of America) he eliminated this statement. 
 
87 
 
 illusion of sincerity, it degenerates readily into a jingle. The 
 poem, in short, betrays the weakness of Taylor's first manner. 
 It is unduly rhetorical. But if rhetoric was the weakness of 
 Taylor's first manner, it was also its strength, a fact of which 
 Taylor himself was apparently aware. When he sat once 
 incognito in judgment upon his writings, he wrote : " His (i. e., 
 Taylor's) rhetoric is at the same time his strength and his 
 weakness, for it has often led him away from the true sub- 
 stance of poetry."*® Rhetoric was Taylor's strength because 
 it helped cover up his paucity of thought,*® because it gave a 
 swing and dash to his work that frequently created the illusion 
 of poetry, because it helped disguise the fact from not-too- 
 discerning eyes that Taylor's verses lack " spontaneity. His 
 poetry is all intended. It is carefully built up by the intellect. 
 The reader searches in vain for an escape from the intellectual ; 
 Taylor never gives the rein to the spirit. The reader is sur- 
 prised by no sudden glories of the imagination, for Taylor 
 never seems to look forth from those * magic casements, open- 
 ing on the foam of perilous seas in Faery lands forlorn ! ' "'^^ 
 
 Bayard Taylor's second manner is usually ascribed to the 
 influence of his German studies."^ His critics call the work 
 of his second period metaphysical.*^^ Taylor himself preferred 
 
 « Cf. Echo Club, p. 126. 
 
 *' Cf. Trent, History of American Literature, p. 463 : " Furthermore, for 
 the first and only time in his life (». e., while translating Faust) he 
 was under no necessity to seek for the intellectual and emotional pro- 
 fundity which he knew must characterize a great poem, but which he could 
 never attain. In other words, that support of a greater mind which 
 Arnold thought Shelley needed. Bayard Taylor much more surely needed 
 and found in Goethe." 
 
 " Cf. Smyth, Bayard Taylor, p. 268. 
 
 " Cf. Nation, v. 39, p. 401 : " In these last years, too, there was an expan- 
 sion of his intellectual nature and a sharpening of his artistic perception, due 
 in large measure to his study of Goethe, who overmastered his mind and 
 determined the character of the latest products of his genius." 
 
 •" Cf. Scribner's Monthly, v. 19, p. 81 : " Of late years, in his desire to 
 convey his deeper, more intellectual thought and conviction, he frequently 
 became involved, and a metaphysical vagueness was apparent even in his 
 lyrics." 
 
 Cf. also North American Review, v. 104, p. 294, review of Picture of 
 St, John by Lowell : " We could spare without regret a number of stanzas 
 in which Mr. Taylor philosophizes, for the metaphysical is certainly not his 
 
88 
 
 to call it psychological.^^ At any rate, it involved the for- 
 swearing of rhetoric and the endeavor to pursue " the true 
 substance of poetry." Robbed of their rhetoric, Taylor's verses 
 appeared more and more unpoetic. It is to this period that his 
 " Faust "-translation belongs. 
 
 In a certain sense Bayard Taylor's " Faust " is not English. 
 In a certain sense it is not Goethe. Taylor has given us the 
 form of " Faust " with photographic fidelity at times.^* But 
 he has Latinized, sophisticated, diluted, padded, and stripped oif 
 poetry^^ until all vital semblance of the original has been lost. 
 The translation inspires the reader with an unqualified admi- 
 
 strongest point. He is happiest when he looks about him and gathers 
 into sheaves of verse the harvest of his eye. When he undertakes to ex- 
 pound the laws of the mind, he becomes misty, and therefore tedious. The 
 artist, when he volunteers to be his own lawyer in these matters, hath a 
 fool to his client." 
 
 " Cf . Aus Zwei Weltteilen, p. 159: "Was jene raetaphysisch nannten, 
 bezeichnete Taylor jedoch als psychologisch." 
 
 " Cf. Barrett Wendell, Literary History of America, p. 458 : " Whatever 
 the positive value of his translation, he achieved one rare practical result. 
 By simply comparing his work with Goethe's original, persons who know 
 very little German can feel the power arid the beauty of Goethe's style, 
 as well as of his meaning." Cf, also Westminster Review, 1871, p. 568 : 
 " Mr. Taylor's version is a photograph, with the unavoidable faults of a 
 photograph." 
 
 " Cf. Springfield Republican, January 2, 1871 : " For translating poems, 
 it is first needful that one should be a poet. Mr. Taylor is one, nominally, 
 but not in reality, — his mind has the hard prosaic character, very similar 
 to one side of Goethe's — but on the other side, the great German was a 
 lofty and inspired poet. Inspiration is exactly what Mr. Taylor lacks, 
 and, consequently, he can never inspire his readers. His version even 
 when mechanically exact, and indeed felicitous in its choice of words, 
 as it often is, lacks the nameless charm that we find in the translations 
 of Shelley and Longfellow and Coleridge, from the same language. None 
 of these were {sic) so familiar with German as Mr. Taylor is, but they 
 all had, each in his way, 'the vision and the faculty divine,' which may 
 mislead a translator but is sure to please his readers." 
 
 Cf. St, Louis Republican, review of Faust: "If we miss much of 
 the music of the original and much of the something which has no name, 
 but is the exclusive property of the high priests of poetry, who wed 'per- 
 fect music unto noble words ' we are not surprised. Translations — the 
 French very aptly call them traductions — are after all translations, and Mr. 
 Taylor might have added to the motto on his title page : 
 
 Wer den Dichter will verstehen. 
 Muss des Dichter (sic) Sprache lernen." 
 
89 
 
 ration for the patience, zeal and industry of Bayard Taylor, 
 but it affords him little pleasure, nor does it perform that 
 higher office of a good translation, so potently to suggest the 
 charm of the original as to win readers for Goethe in the 
 German.*^® 
 
 In short, it meets no one of the three demands, which may 
 reasonably be made upon it by the person for whom the trans- 
 lation was obviously intended — the English-speaking person of 
 culture who knows no German but would still make the ac- 
 quaintance of "Faust." I hold therefore that it is an inade- 
 quate translation. Like a certain English reviewer I am at a 
 loss to understand how it has " usurped the position of stan- 
 dard."**^ Nor do I comprehend, I confess, the esteem, both 
 for poetic and general excellence, in which this translation is 
 held by certain eminent German authorities.**^ 
 
 " Cf. Goethe, Maximen und Reflexionen, III : " Uebersetzer sind als 
 geschaftige Kuppler anzusehen, die uns eine halbverschleierte Schone als 
 hochst liebenswiirdig anpreisen ; sie erregen eine unwiderstehliche Neigung 
 nach dem Original.'* 
 
 " Cf. Saturday Review, v. 67, p. 577 : " He (t. e,, Birds) does not com- 
 pare disadvantageously with the late Mr. Bayard Taylor, who has (we 
 never quite knew how) apparently attained or usurped the position of 
 standard." 
 
 •"Cf. Herrig's Archiv. v. 99, p. 437, review of McLintock's Faust by 
 Richard M. Meyer. 
 
 Cf. Herrig's Archiv, v. 91, p. 284, review of Sabatier's Faust by Arn. 
 Krause. 
 
 Cf. Goethe- J ahrbuch, v. 2, p. 439, Zu einer Stelle in Faust, in which 
 article G. v. Loeper speaks of the " nicht genug zu riihmenden Faust-Ueber- 
 tragung " of Bayard Taylor. 
 
BIBLIOGRAPHY 
 
 The following books, journals and reviews have been read 
 in preparing this dissertation. 
 
 Works of Bayard Taylor^ 
 
 At Home and Abroad, I, New York, i860. 
 
 At Home and Abroad, II, New York, 1878. 
 
 Beauty and the Beast, New York, 1881. 
 
 By- Ways of Europe, New York, 1869. 
 
 Central Africa, New York, 1863. 
 
 Echo Club, Boston, 1876. 
 
 Eldorado, New York, 1862. 
 
 Essays and Notes, New York, 1880. 
 
 Faust, I, Boston, 1876. 
 
 Faust, II, Boston, 1879. 
 
 Faust, Kennett Edition, 2 vols., Boston, 1879. 
 
 Faust, Boston and New York, copyright 1870 and 1898. 
 
 Hannah Thurston, New York, 1879. 
 
 John Godfrey's Fortunes, New York, 1865. 
 
 Joseph and his Friend, New York, 1855. 
 
 National Ode, Boston, 1876. 
 
 Northern Travel, New York, 1862. 
 
 School History of Germany, New York, 1882. 
 
 Studies in German Literature, New York, 1879. 
 
 The Dramatic Works of Bayard Taylor (The Prophet, The 
 Masque of the Gods, Prince Deukalion), Boston, 
 1880. 
 
 The Golden Wedding, a Masque, printed privately, Philadel- 
 phia, 1868. 
 
 The Lands of the Saracen, New York, 1865. 
 
 * First editions of many of Taylor's works will be found in the library 
 of Cornell University, including a very rare if not unique example of 
 Ximena and a copy of Poems of the Orient with interesting marginal notes 
 by the author. 
 
 90 
 
91 
 
 The Picture of St. John, Boston, 1866. 
 
 The Poems of Bayard Taylor, Boston, 1866. 
 
 The Poetical Works of Bayard Taylor, Boston, 1902. 
 
 The Story of Kennett, New York, 1866. 
 
 Travels in Greece and Russia, New York, 1859. 
 
 Views Afoot, New York, 1859. 
 
 Ximena, Philadelphia, 1844. 
 
 Biographies 
 
 Aus Zwei Weltteilen, Stuttgart und Leipzig, 1905, by Marie 
 Hansen-Taylor. 
 
 Bayard Taylor, Boston and New York, 1896, by A. H. Smyth. 
 
 Life and Letters of Bayard Taylor, 2 vols., Boston, 1885, by 
 Marie Hansen-Taylor and Horace Scudder. 
 
 Life, Travels, and Literary Career of Bayard Taylor, Boston, 
 1879, by R. H. Conwell. 
 
 On Two Continents, New York, 1905, by Marie Hansen- 
 Taylor with the cooperation of Lilian Bayard Taylor 
 Kiliani. 
 
 Briefer Biographies, Biographical Notes, Critical 
 Estimates and the Like 
 
 Academy, v. 13, p. 461. 
 Academy, v. 15, p. 188. 
 Academy, "Faust" translations: a very small point, v. 48, p. 
 
 568, by R. McLintock. 
 American and British Authors, Columbus, copyright 1896, pp. 
 
 150-157, by Frank V. Irish. 
 American Authors, Atlanta, 1902, pp. 302-307, by Mildred 
 
 Rutherford. 
 American Literary Masters, Boston and New York, 1906, pp. 
 
 401-414, by Leon H. Vincent. 
 American Literature, New York, 1903, pp. 384-394, by J. W. 
 
 Abernethy. 
 American Literature, New York, 1898, pp. 192-194, by Kath- 
 arine L. Bates. 
 American Literature — a Laboratory Method, Philadelphia, 1901, 
 
 pp. 43, 49, by H. L. Mason. 
 
92 
 
 American Literature, Chicago, 1901, pp. 245-247, by Alphonso 
 
 G. Newcomer. 
 American Literature, New York and London, 1889, pp. 246- 
 
 248, by Charles F. Richardson. 
 American Literature in the Colonial and National Periods, 
 
 Boston, 1902, pp. 224-238, by Lorenzo Sears. 
 American Literature, Boston and New York, 1899, pp. 87-88, 
 
 by Edwin P. Whipple. 
 American Song, New York and London, 1894, pp. 116-121, 
 
 by Arthur B. Simonds. 
 Appleton's Journal, v. 12, p. 683. 
 Athenaeum, no. 2670, p. 853. 
 Athenaeum, no. 2680, p. 303. 
 Atlantic, Reminiscences of Bayard Taylor, v. 43, p. 242, by 
 
 R. H. Stoddard. 
 Atlantic, Poem, v. 43, p. 337, by J. G. Whittier. 
 Atlantic, On the Translation of Faust, v. 66, p. 733, by W. P. 
 
 Andrews. 
 Author's Birthdays, Syracuse, 1899, pp. 9-56, by C. W. Bardeen. 
 Aus dem amerikanischen Dichterwald, Leipzig, 1881, pp. 258- 
 
 288, by Dr. Rudolf Doehn. 
 Beitrage zur amerikanischen Litteratur- und Kulturgeschichte, 
 
 Stuttgart, 1898, pp. 410-415, by E. P. Evans. 
 Bookbuyer,. Our Literary Diplomats, v. 21, p. 45. 
 Brief History of English and American Literature, New York, 
 
 copyright 1897, pp. 538-541, by Henry A. Beers. 
 Bryant and His Friends, New York, 1886, pp. 347-375» by 
 
 J. G. Wilson. 
 Builders of American Literature, Boston, 1893, pp. 275-279, 
 
 by F. H. Underwood. 
 Catholic World, v. 29, p. iii, by J. V. O'Connor. 
 Century, With Perry in Japan, v. 70, p. 349. 
 Chamber's Cyclopaedia of English Literature, Philadelphia, 
 
 1904, V. 3, pp. 818-820. 
 Children's Stories in American Literature, New York, 1896, v. 
 
 2, pp. 84-105, by Henrietta C. Wright. 
 Critic, V. 16, p. 109. 
 
93 
 
 Cyclopaedia of American Literature, New York, 1855, pp. 
 
 715-717, by E. A. and G. L. Duyckinck. 
 Detroit Free Press, May 22, 1887, by Richard S. Willis. 
 English Literature, New York, 1879, p. 182, by Stopford 
 
 Brooke. 
 Essays on German Literature, English translations of Goethe, 
 
 New York, 1898, pp. 1 19-128, by H. H. Boyesen. 
 Four Famous American Writers, New York, Chicago and 
 
 Boston, copyright 1899, pp. 197-256, by Sherwin 
 
 Cody. 
 Four-Track News, Poem, July, 1904, p. 21, by Eben Rexford 
 Geschichte der englischen Litteratur, Leipzig, 1897, pp. 550- 
 
 551, by Eduard Engel. 
 Geschichte der Litteratur Nordamerikas, Leipzig, sine dato, pp 
 
 27-29, by Eduard Engel. 
 Geschichte der nordamerikanischen Litteratur, Leipzig, 1868 
 
 pp. 66, 123, by Dr. K. Brunnemann. 
 Geschichte der nordamerikanischen Litteratur, Berlin, 1891, v 
 
 I J PP- 386-407, by Karl Knortz, 
 Guardian, December 24, 1878, p. 1786. 
 Hand-Book of American Literature, Philadelphia, 1856?, p 
 
 103, by Joseph Gostwick. 
 Hand-Book of English Literature, Boston, 1874, pp. 518-521 
 
 by F. H. Underwood. 
 Harper's Magazine, Editor's Easy Chair, v. 57, p. 143. 
 Harper's Magazine, Editor's Easy Chair, v. 58, p. 621. 
 Harper's Magazine, May, 1894, pp. 817-820. 
 Harper's Magazine, First Century of the Republic, v. 52, p. 
 
 519, by Edwin P. Whipple. 
 Harper's Weekly, January 11, 1879, PP- 22, 23. 
 History of American Literature, Boston, 1897, pp. 351-360, by 
 
 Fred Lewis Pattee. 
 History of American Literature, New York, 1903, pp. 463-472, 
 
 by W. P. Trent. 
 History of American Verse, Chicago, 1901, pp. 233-237, by 
 
 James L. Onderdonk. 
 History of Literature in America, New York, 1904, pp. 360- 
 
 361, by Barrett Wendell and Chester N. Greenough. 
 
94 
 
 Initial Studies in American Letters, New York, 1892, pp. 170- 
 
 173, by Henry A. Beers. 
 Introduction to American Literature, New York, 1900, pp. 287- 
 
 292, by Henry S. Pancoast. 
 Introduction to the Study of American Literature, New York 
 
 and Chicago, 1902, pp. 338-340, by William C. 
 
 Lawton. 
 Introduction to the Study of American Literature, New York, 
 
 Cincinnati, Chicago, copyright 1896, pp. 224, 225, by 
 
 Brander Matthews. 
 Lippincott, August, 1879, p. 209, by H. H. Boyesen. 
 Literary Friends and Acquaintance, New York and London, 
 
 1900, pp. 3-9, by W. D. Howells. 
 Literary History of America, New York, 1900, pp. 455-458, by 
 
 Barrett Wendell. 
 Literary World, August 18, 1849, P- I34- 
 Literary World, September 29, 1849, P- 280. 
 Literary World, March 20, 1852, p. 207. 
 Literary World, May 29, 1852, p. 380. 
 Literary World, May 7, 1853, p. 380. 
 Literary World, August 26, 1853, p. 584. 
 Literary World, January 4, 1879, P- 3- 
 Literary World, January 4, 1879, P- 8- 
 Literary World, January 4, 1879, P- 12. 
 Literary World, January 18, 1879, P- 3^- 
 Literary World, July 19, 1879, P- 233. 
 Literary World, March 29, 1879, p. no. 
 Literary World, October 8, 1881, p. 354. 
 Literary World, London, Poem, March 14, 1879, p. 173, by 
 
 J. G. Whittier. 
 London Times, March 17, 1879. 
 
 Magazine of American History, v. 29, p. 136, by N. G. Pond. 
 Manual of American Literature, Philadelphia, 1873, pp. 456- 
 
 457, by John S. Hart. 
 Modern Language Notes, Faust-interpretations, v. 15, no. 3, 
 
 col. 164, by J. H. Senger. 
 Munsey, v. 18, p. 594, by Theodore Dreiser. 
 Nation, v. 2^, pp. 124, 400. 
 
95 
 
 National Magazine, April, 1853. 
 
 New York Evening Post, Bayard Taylor and his Work, De- 
 cember 20, 1878. 
 New York Independent, December 26, 1878, pp. 10, 17. 
 New York Sun, editorial, December 20, 1878. 
 New York Times, December 20, 1878. 
 New York Tribune, Bayard Taylor as a Club Man, December 
 
 20, 1878, by A. B. Macdonough. 
 New York Tribune, Account of Bayard Taylor's funeral in 
 
 Berlin, December 23, 1878. 
 New York Tribune, Bayard Taylor : His Last Days, January 
 
 7, 1879, by G. W. Smalley. 
 New York Tribune, December 24, 1878, by J. T. Fields. 
 New York Tribune, December 20, 1878, by E. C. Stedman. 
 New York Tribune, December 20, 1878, by R. H. Stoddard. 
 New York Tribune, December 20, 1878, by C. T. Congdon. 
 New York Tribune, December 20, 1878, editorial. 
 New York Tribune, January 7, 1879, by Paul H. Hayne. 
 North American Review, v. 128, p. 508, by O. B. Frothingham. 
 Outline Sketch of American Literature, New York, 1887, pp. 
 
 224-227, by Henry A. Beers. 
 Packard's Monthly, November, 1869, p. 321, by Howard Glyn- 
 
 don, pseudonym of Laura C. Redden. 
 Parnassus in Pillory, New York, 1851, pp. 12, 62, by Motley 
 
 Manners, Esquire, pseudonym of A. J. H. Duganne. 
 Pennsylvania Monthly, v. 10, p. 2. 
 Pen Pictures of Modern Authors, New York, without date or 
 
 copyright, pp. 178-201, W. S. Walsh. 
 Personal Sketches of Recent Authors, Chicago, 1898, pp. 316- 
 
 335, by Hattie Tyng Griswold. 
 Philadelphia Magazines and their Contributors, Philadelphia, 
 
 1892, pp. 20, 207, 224, 236, by A. H. Smyth. 
 Philosophy of American Literature, Boston, 1891, p. (£, by 
 
 Greenough White. 
 Poet-Lore, A Faust Problem : What was the Homunculus ? v. 
 
 13, p. 269. 
 Poets' Homes, Boston, copyright 1877, pp. 101-118, by R. H. 
 
 Stoddard and others. 
 
96 
 
 Poets of America, Boston and New York, 1892, pp. 396-434, 
 
 by E. C. Stedman. 
 Poets and Poetry of America, Philadelphia, 1852, pp. 51 1-5 17, 
 
 by Rufus W. Griswold. 
 Potter's American Monthly, v. 12, p. 118, by A. G. Feather. 
 Primer of American Literature, New York, copyright 1880, p. 
 
 130? by Eugene Lawrence. 
 Primer of American Literature, Boston, New York, Chicago, 
 
 copyright 1896, pp. 80-81, by C. F. Richardson. 
 Public Opinion, London, July 7, 1866, p. 25. 
 Reader's History of American Literature, Boston, New York, 
 
 Chicago, copyright 1903, pp. 264, 305-306, by T. W. 
 
 Higginson and H. W. Boynton. 
 Recollections, Personal and Literary, New York, 1903, pp. 
 
 50-68, 244-261, by R. H. Stoddard. 
 Recollections of a Busy Life, New York, 1868, p. 326, by 
 
 Horace Greeley. 
 Reminiscences of a Journalist, Boston, 1880, by C. T. Congdon. 
 Saturday Review, v. 46, p. 811. 
 Scribner, Bayard Taylor: His Poetry and Literary Career, v. 
 
 19, pp. 81 ff., 266 ff., by E. C. Stedman. 
 Shaw's New History of English Literature, New York and 
 
 Chicago, 1884, pp. 452-453, by T. J. Backus. 
 Short History of American Literature, Boston, 1900, pp. 262- 
 
 265, by Walter C. Bronson. 
 Spectator, v. 51, p. 1587. 
 Studies in American Literature, New York, 1898, pp. 277-280, 
 
 by Charles Noble. 
 Studies in Poetry and Criticism, London, 1905, pp. 33, 58-60, 
 
 by J. Churton Collins. 
 Tribute to Bayard Taylor, an essay and poem, Washington, 
 
 1879, by Isaac Edwards Clarke. 
 Uber Land und Meer, v. 40, p. 570, by Udo Brachvogel. 
 Vanity Fair, February 18, i860, p. 124. 
 Vanity Fair, February 25, i860, p. 133. 
 Vanity Fair, March 23, 1861, p. 143. 
 Vanity Fair, March 30, 1861, p. 153. 
 
97 
 
 Reviews of Single Books 
 
 American Legend 
 
 Boston Transcript, July 30, 1850. 
 
 Harper's Magazine, v. i, p. 573. 
 
 Literary World, August 31, 1850, p. 172. 
 
 North American Review, v. 71, p. 514, by C. C. Felton. 
 
 At Home and Abroad 
 
 Albion, November 12, 1859, p. 549. 
 
 Albion, January 25, 1862, p. 45. 
 
 Athenaeum, no. 1675, p. 738. 
 
 National Quarterly Review, June, i860, p. 254. 
 
 Beauty and the Beast 
 Athenaeum, no. 2336, p. 145. 
 Atlantic, v. 29, p. 751. 
 Harper's Magazine, v. 45, p. 299. 
 Nation, v. 14, p. 409. 
 Saturday Review, v. 33, p. 677. 
 Spectator, v. 45, p. 1084. 
 
 Book of Romances, Lyrics and Songs 
 
 Albion, November 8, 185 1, p. 537. 
 
 International Monthly Magazine, v. 5, p. 13, by G. H. Boker. 
 
 Southern Literary Messenger, v. 18, p. 13. 
 
 Westminster Review, April i, 1852, p. 669. 
 
 Boys of Other Countries 
 
 Galaxy, January, 1877, p. 139. 
 Literary World, January, 1902, p. 10. 
 Pennsylvania Monthly, v. 7, p. 988. 
 Saturday Review, v. 42, p. 827. 
 
 By-Ways of Europe 
 
 Athenaeum, no. 2166, p. 600. 
 Harper's Magazine, v. 39, p. I47- 
 Nation, v. 8, p. 278. 
 8 
 
98 
 
 Putnam's Monthly Magazine, v. 13, p. 630. 
 Spectator, v. 42, p. 540. 
 
 Central Africa 
 Albion, October 14, 1854, p. 489. 
 Athenaeum, no. 1404, p. 1137. 
 Knickerbocker, October, 1854, p. 411. 
 New York Evening Post, October 7, 1854. 
 Putnam's Monthly Magazine, v. 4, p. 343. 
 Spectator, November 4, 1854, p. 11 56. 
 
 Colorado 
 Athenaeum, no. 2078, p. 233. 
 Nation, v. 4, p. 105. 
 Saturday Review, v. 23, p. 800. 
 
 Cyclopaedia of Modern Travel 
 Harper's Magazine, v. 45, p. 301. 
 Knickerbocker, February, 1857, p. 196. 
 Nation, v. 14, p. 105. 
 Putnam's Monthly Magazine, v. 8, p. 656. 
 
 Don Carlos 
 New York Evening Post, March 26, 1906, by J. M. Hart. 
 
 Echo Club 
 Academy, v. 4, p. 66. 
 
 Atlantic, January, 1877, p. 92, by W. D. Howells. 
 Literary World, December 14, 1895, p. 451. 
 New York Evening Post, July 31, 1876. 
 New York Independent, August 10, 1876, p. 11. 
 Pennsylvania Monthly, v. 7, p. 982. 
 
 Egypt and Iceland. 
 Academy, v. 6, p. 649, by Robert Brown. 
 Athenaeum, no. 2464, p. 80. 
 Galaxy, December, 1874, p. 860. 
 New York Evening Post, October 22, 1874. 
 Saturday Review, v. 38, p. 741. 
 Spectator, v, 48, p. 1599. 
 
99 
 
 Eldorado 
 Athenaeum, no. 1183, p. 680. 
 
 Graham's Magazine, v. 37, p. 134, by E. P. Whipple. 
 Harper's Magazine, v. i, p. 140. 
 
 Household Words, June 29, 1850, by Charles Dickens. 
 International Monthly, v. i, p. 74, by J. G. Whittier. 
 Literary World, May 4, 1850, p. 437. 
 Literary World, May 18, 1850, p. 488. 
 North American Review, v. 75, p. 2yy, by J. D. Whitney. 
 Sartain's Union Magazine, July, 1850, p. 59, by J. S. Hart. 
 Spectator, June i, 1850, p. 520. 
 
 Essays and Notes 
 Academy, v. 18, p. 42. 
 Lippincott, October, 1880, p. 519. 
 Literary World, October 23, 1880, p. 367. 
 Literary World, London, August 20, 1880, p. 118. 
 Nation, v. 24, p. 279. 
 New Englander, v. 40, p. 40, by Franklin Carter. 
 
 Faust 
 Academy, December i, 1871, p. 529, by Fr. Hiiffer. 
 Academy, v. 31, no. 769, p. 79. 
 Academy, v. 48, p. 568, by R. McLintock. 
 Aldine, February, 1871, p. 34. 
 
 Aldine, March, 1871, pp. 40-41, by Charles Carroll. 
 Aldine, January, 1872, p. 28, by R. H. Stoddard. 
 Archiv fiir Literaturgeschichte, v. 12, p. 154, by W. v. Bieder- 
 
 mann. 
 Athenaeum, no. 2284, p. 171. 
 
 Atlantic, February, 1871, p. 258, by W. D. Howells. 
 Atlantic, July, 1871, p. 124, by W. D. Howells. 
 Atlantic, v. 66, p. 733, by W. P. Andrews. 
 Berliner Nachrichten, no. 63, March 15, 1872. 
 Blatter fiir litterarische Unterhaltung, March, 1872, p. 171, 
 
 by David Asher. 
 Blatter fiir litterarische Unterhaltung, May 17, 1876, by 
 
 David Asher. 
 
100 
 
 Boston Daily Advertiser, May ii, 1871. 
 
 Cotemporary Literature, October, 1871, p. 568. 
 
 Comhill, V. 26, p. 279. 
 
 Englische IJbersetzungen von Goethes Faust, Halle, 1907, pp. 
 80-100, by Lina Baumann. 
 
 Essays on German Literature, New York, 1898, p. 119, by 
 H. Boyesen. 
 
 Galaxy, March, 1871, p. 464, by Professor J. M. Hart. 
 
 Galaxy, June, 1871, p. 891, by Professor J. M. Hart. 
 
 Gegenwart, no. 12, 1872, p. 187. 
 
 Guardian, January 31, 1872, p. 147. 
 
 Harper's Magazine, March, 187 1, p. 623. 
 
 Hamburger Correspondenten, January 10, 1872, by Dr. C. F. 
 Liiders. 
 
 Hamburger Nachrichten, no. 56, March 6, 1872. 
 
 Literary World, January 15, 1881, p. 31. 
 
 Literary World, London, September 8, 1871, p. 152. 
 
 Literary World, London, September 22, 1871, p. 183. 
 
 Literary World, London, September 29, 1871, p. 200. 
 
 Literary World, London, October 6, 1871, p. 216. 
 
 London Nonconformist, October 25, 1871. 
 
 Manchester (England) Guardian, November 15, 1871. 
 
 Nation, March 23, 1871, p. 201, by J. K. Dennett. 
 
 National Quarterly Review, September, 1871, p. 373. 
 
 New York Evening Post, December 16, 1870. 
 
 New York Evening Post, April 7, 1871. 
 
 New York Independent, March 9, 1871, by Rev. W. C. Wil- 
 kinson. 
 
 New York Times, December 2'j, 1870, by Mr. Conant. 
 
 New York Times, May 11, 1871, by Mr. Conant. 
 
 New York Tribune, December 30, 1870, by Mr. Ripley. 
 
 New York Tribune, June 2, 1871, by Mr. Ripley. 
 
 New York World, February 3, 1871, by Mr. Macdonough. 
 
 Philadelphia Demokrat, April 19, 1871. 
 
 Philadelphia Press, March 7, 1871, by Dr. R. Shelton Mac- 
 kenzie. 
 
 Saturday Review, July 22, 1871, p. 126. 
 
 Saturday Review, September 16, 1871, p. 370. 
 
101 
 
 Saturday Review, October 7, 1871, p. 466. 
 Scribner's Magazine, March, 1871, p. 572. 
 Spectator, December 23, 1871, p. 1575. 
 Spectator, December 30, 1871, p. 1612. 
 Springfield Republican, January 2, 1871. 
 St. Louis Republican.^ 
 Westminster Review, 1871, p. 568. 
 Westminster Review, v. 125, p. 313. 
 
 Faust-Translations Other Than Taylor's 
 
 Only such reviews are here mentioned as contain, by way of comparison, 
 some discussion of Taylor's translation, or, in one or two cases, of the 
 theory of poetic translation. 
 
 Anster: New York Times, no. 10876, July, 1886. 
 
 Anster: Saturday Review, v. 18, p. 422. 
 
 Beta: Saturday Review, v. 81, p. 84. 
 
 Birds: Academy, v. 36, p. 48, by E. D. A. Morshead. 
 
 Birds : Magazin f iir Litteratur des In- und Auslandes, no. 47, 
 
 p. 684, by Paul Dobert. 
 Birds: Nation, v. 49, p. 299. 
 Birds: Saturday Review, v. dy^ p. 577. 
 Birds: Westminster Review, v. 115, p. 336. 
 Blackie: Fraser, v. 10, p. 88. 
 Blackie: Magazin fiir Litteratur des In- und Auslandes, no. 
 
 47, p. 684, by Paul Dobert. 
 Blackie: Nation, v. 32, p. 409. 
 Blackie: Saturday Review, v. 50, p. 741. 
 Blackie: Westminster Review, v. 115, p. 336. 
 Bowen : Guardian, July 24, 1878, p. 1044. 
 Bowen: Spectator, v. 51, p. 377. 
 Brooks: Harper's Magazine, v. 14, p. 406. 
 Gaudy: Nation, May 27, 1886, p. 451. 
 Claudy: New York Times, no. 10876, July, 1886. 
 Colquhoun: Guardian, March 26, 1879, p. 434. 
 
 'This article I was obliged to consult in a scrap-book of Faust reviews 
 prepared by Mrs. Bayard Taylor, and now preserved in the library of 
 Cornell University. The editors of the Si. Louis Republican were not 
 able to supply the missing date, since their journal is indexed only for 
 more recent years. 
 
102 
 
 Goethe's Faust in England : Gegenwart, nos. 24, 25, 1874, pp. 
 
 Z7S-Z77^ 394-395, by Hermann Kindt. 
 Gower: London Magazine, v. 6, p. 164. 
 Hayward: Edinburgh Review, v. 57, p. 107. 
 Hayward : Harper's Magazine, v. 2, p. 565. 
 Huth : Academy, v. 36, p. 48, by E. D. A. Morshead. 
 Kegan Paul : Saturday Review, March 22, 1873. 
 Latham: Athenaeum, no. 3930, p. 237. 
 McLintock: Deutsche Litteraturzeitung, 1898, p. 13, by G. 
 
 Witkowski. 
 McLintock: Herrig's A. f. d. S. d. n. S., v. 99, p. 437, by 
 
 Richard M. Meyer. 
 Martin : Academy, no. 722, p. 157, by E. D. A. Morshead. 
 Martin: Athenaeum, no. 3057, p. 712. 
 Martin: Nation, v. 42, p. 451. 
 Martin : New York Times, no. 10876, July, 1886. 
 Martin: Saturday Review, v. 19, p. 478. 
 Martin: Saturday Review, v. 61, p. 409. 
 Poetical Translation of Faust, Blackwood, v. 47, p. 223. 
 Sabatier: Herrig's A. f. d. S. d. n. S., v. 91, p. 284, by Arn. 
 
 Krause. 
 Swanwick: Saturday Review, v. 47, p. 119. 
 Syme: Eraser, v. 10, p. 88. 
 Webb: Athenaeum, no. 2786, p. 393. 
 Webb : Magazin f iir Litteratur des In- und Auslandes, no. 47, 
 
 p. 684, by Paul Dobert. 
 Webb: Nation, November 24, 1898, p. 394. 
 Webb: Westminster Review, 1881, p. 622. 
 
 Hannah Thurston 
 Atlantic, v. 13, p. 132, by M. A. Dodge. 
 Century, v. 26, p. 363, by J. H. Morse. 
 Literary World, v. 30, p. 275. 
 New Englander, v. 23, p. 496, by J. M. Sturtevant. 
 New York Evening Post, November 21, 1863. 
 New York Independent, November 26, 1863. 
 New York Times, November 26, 1863. 
 New York Tribune, November 21, 1863. 
 
103 
 
 Saturday Review, v. i6, p. 708. 
 
 Spectator, November 28, 1863, p. 2801. 
 
 Works of Orestes A. Brownson, Detroit, 1885, v. 10, p. 502. 
 
 Home Pastorals, Ballads, and Lyrics 
 Academy, v. 9, p. 95. 
 
 Atlantic, v. 37, p. 108, by W. D. Howells. 
 Atlantic, v. 49, p. 131, by H. E. Scudder. 
 Harper's Magazine, v. 64, p. 313. 
 Literary World, November 5, 1881, p. 397. 
 Saturday Review, v. 40, p. 822. 
 Saturday Review, v. 41, p. 155. 
 
 India, China, and Japan 
 Putnam's Monthly Magazine, v. 6, p. 551. 
 Saturday Review, v. 33, p. 130. 
 
 John Godfrey's Fortunes 
 Boston Review, v. 5, p. 162. 
 
 National Quarterly Review, December, 1864, p. 175. 
 New York Evening Post, November 28, 1864. 
 New York Tribune, December 31, 1864. 
 Saturday Review, v. 19, p. 113. 
 
 Joseph and His Friend 
 Athenaeum, no. 2258, p. 140. 
 Harper's Magazine, v. 42, p. 461. 
 Lippincott, March, 1871, p. 341. 
 New York Tribune, December 20, 1870. 
 Public Opinion, London, February 25, 1871, p. 232. 
 Saturday Review, v. 31, p. 126. 
 
 Lands of the Saracen 
 Putnam's Monthly Magazine, v. 5, p. 109. 
 
 Lars 
 Academy, v. 4, p. 283, by G. A. Simcox. 
 Athenaeum, no. 2379, p. 689. 
 Atlantic, v. 31, p. 622, 
 
104 
 
 Eclectic, May, 1873, p. 635. 
 
 Galaxy, June, 1873, p. 855. 
 
 Harper's Magazine, v. 47, p. 130. 
 
 Lippincott, June, 1873, p. 725. 
 
 Nation, v. 16, p. 321. 
 
 New York Evening Post, April 4, 1873. 
 
 New York Independent, April 10, 1873, p. 459. 
 
 New York Tribune, March 6, 1873. 
 
 Life and Letters 
 Academy, v. 26, p. 299, by Walter Lewin. 
 Andover Review, v. 2, p. 548, by P. H. Hayne. 
 Athenaeum, no. 2977, p. 619. 
 Atlantic, v. 54, p. 562, by J. R. G. Hassard. 
 Critic, V. 2, p. 169, by R. H. Stoddard. 
 Dial, V. 5, p. 125, by Horatio N. Powers. 
 Harper's Magazine, v. 70, p. 490. 
 Lippincott, November, 1884, p. 524. 
 Literary World, v. 15, p. 326. 
 Nation, v. 39, p. 401, by G. E. Woodberry. 
 Saturday Review, v. 58, p. 792. 
 Spectator, v. 58, p. 120. 
 
 Life, Travels, and Books of Humboldt 
 Athenaeum, no. 1689, p. 339. 
 Harper's Magazine, v. 19, p. 837. 
 Knickerbocker, November, 1859, p. 538. 
 
 Masque of the Gods 
 Athenaeum, no. 2327, p. 682. 
 Atlantic, v. 29, p. 750, by W. D. Howells. 
 New York Evening Post, April 6, 1872. 
 New York Tribune, April 16, 1872. 
 Saturday Review, v. 33, p. 6yy. 
 
 Melodies of Verse 
 Literary World, October 18, 1884, p. 359. 
 
 National Ode 
 ' Galaxy, February, 1877, p. 287. 
 
105 
 
 Northern Travels 
 
 Athenaeum, no. 1571, p. 1509. 
 Athenaeum, no. 1572, p. 1553. 
 Knickerbocker, March, 1858, p. 310. 
 Spectator, January 2, 1858, p. 22. 
 
 On Two Continents 
 Athenaeum, no. 4073, p. 684. 
 
 Cleveland Leader, September 11, 1905, by Jeannette Gilder. 
 Critic, V. 47, p. 344, by Jeannette Gilder. 
 Dial, V. 39, p. 200, by P. F. Bicknarll. 
 Nation, v. 82, p. 100. 
 
 New York Evening Post, February 3, 1906. 
 New York Sun, October i, 1905, by M. W. Hazeltine. 
 New York Tribune, September 24, 1905. 
 Public Opinion, v. 39, p. 828. 
 Spectator, v. 96, p. 645. 
 
 Palestine, Asia Minor, etc. 
 Athenaeum, no. 1435, P- 4^1 • 
 
 Picture of St. John 
 Athenaeum, no. 2045, P- H- 
 Atlantic, v. 19, p, 126, by W. D. Howells. 
 Fortnightly, v. 7, p. 382, by J. Knight. 
 New York Times, October 15, 1866. 
 New York Tribune, December 13, 1866. 
 North American Review, v. 104, p. 294, by J. R. Lowell. 
 Public Opinion, London, October 21, 1865, p. 442. 
 Saturday Review, v. 23, p. 382. 
 
 Poems of Home and Travel 
 Albion, January 5, 1856, p. 9. 
 Putnam's Monthly Magazine, v. 7, p. 109. 
 
 Poems of the Orient 
 Albion, November 11, 1854, p. 537. 
 Harper's Magazine, v. 10, p. 137. 
 
106 
 
 Knickerbocker, December, 1854, p. 630. 
 
 National Magazine, January, 1855, p. 85. 
 
 New York Tribune, November 14, 1854. 
 
 North American Review, v. 80, p. 2(^, by A. P. Peabody. 
 
 Putnam's Monthly Magazine, v. 4, p. 668. 
 
 Poet's Journal 
 
 Albion, December 20, 1862, p. 609. This is no doubt the 
 "truculent article," to which A. H. Smyth refers in 
 " Bayard Taylor," p. 139. 
 
 Athenaeum, no. 1842, p. 224. 
 
 Knickerbocker, July, 1863, p. 25. 
 
 National Quarterly Review, December, 1862, p. 176. 
 
 New York Times, December 14, 1862. 
 
 New York Tribune, December 26, 1862. 
 
 New York World, November 29, 1862, by R. H. Stoddard. 
 
 Prince Deukalion 
 Athenaeum, no. 2666, p. 686. 
 Atlantic, v. 43, p. 117, by G. P. Lathrop. 
 Literary World, January 4, 1879, p. 3. 
 Nation, v. 2.y, p. 337. 
 
 National Quarterly Review, October, 1879, p. 389. 
 New York Evening Post, December 2, 1878. 
 New York Times, December 2, 1878. 
 New York Tribune, December 17, 1878. 
 The English Novel, New York, 1883, pp. 106-112, 166-167, 
 by Sidney Lanier. 
 
 Prophet 
 Athenaeum, no. 2454, p. 605. 
 Atlantic, v. 34, p. 743, by W. D. Howells. 
 Eclectic, December, 1874, p. 761. 
 Nation, v. 19, p. 204. 
 
 New York Evening Post, September 11, 1874. 
 New York Independent, September 24, 1874. 
 New York Tribune, September 12, 1874. 
 North American Review, v. 120, p. 188, by Henry James. 
 
107 
 
 Pennsylvania Monthly, v. 5, p. 924. 
 Saturday Review, v. 39, p. 162. 
 Spectator, v. 48, p. 985. 
 
 Rhymes of Travel 
 Albion, January 20, 1849, P- 33- 
 Athenaeum, no. 11 18, p. 323. 
 Literary World, January 13, 1849, P- 3i- 
 
 Sartain's Union Magazine, April, 1849, p. 285, by J. S. Hart. 
 Southern Quarterly Review, v. 16, p. 224. 
 The Literati, by E. A. Poe. 
 
 School History of Germany 
 New York Evening Post, October 22 y 1874. 
 New York Times, February 11, 1894. 
 
 Smyth's Life of Bayard Taylor 
 
 Atlantic, April, 1896, p. 569. 
 
 Bookman, v. 3, p. 263, by Professor H. T. Peck. 
 
 Critic, V. 25, p. 230. 
 
 Dial, V. 21, p. 64, by T. F. Huntington. 
 
 Harper's Weekly, v. 40, p. 294, by W. D. Howells. 
 
 Literary World, v. 27, p. 89. 
 
 Nation, v. 63, p. 73. 
 
 New York Evening Post, July 31, 1896. 
 
 New York Tribune, April 26, 1896. 
 
 Public Opinion, v. 20, p. 375. 
 
 Story of Kennett 
 Athenaeum, no. 201 1, p. 631. 
 Athenaeum, no. 2040, p. 714. 
 Atlantic, v. 17, p. 775, by W. D. Howells. 
 Critic, V. 41, p. 131, by Alden W. Quimby. 
 Literary World, September, 1903, p. 229. 
 Nation, v. 2, p. 501. 
 
 New York Independent, April 19, 1866. 
 New York Times, March 30, 1866. 
 New York Tribune, April 5, 1866. 
 
108 
 
 Public Opinion, London, March 17, 1866, p. 291. 
 Spectator, April 28, 1866, p. 469. 
 
 Studies in German Literature 
 Academy, v. 16, p. 437. 
 Athenaeum, no. 2723, p. 18. 
 Goethe- Jahrbuch, v. 3, p. 415. 
 Harper's Magazine, v. 60, p. 627. 
 Lippincott, October, 1880, p. 519. 
 Literary World, December 6, 1879, P- 409- 
 Literary World, London, January 30, 1880, p. (^, 
 National Quarterly Review, April, 1880, p. 491. 
 New Englander, v. 40, p. 40, by Franklin Carter. 
 Pennsylvania Monthly, v. 11, p. 441. 
 Saturday Review, v. 48, p. 644. 
 Scribner, v. 19, p. 471. 
 Spectator, v. 53, p. 531. 
 
 Taylor's Dramatic Works 
 Atlantic, v. 47, p. 430, by G. P. Lathrop. 
 Literary World, January i, 1881, p. 12. 
 
 Taylor's Novels 
 Nation, v. 28, p. 11. 
 
 Taylor's Poetical Works 
 Atlantic, v. 45, p. 837, by G. P. Lathrop. 
 Critic, V. 2, p. 195. 
 
 Literary World, December 6, 1879, P- 404- 
 Literary World, London, March 19, 1880, p. 182. 
 North American Review, v. 130, p. 98, by R. H. Stoddard. 
 Poems and Parodies, Boston, 1854, by Phoebe Carey, contains 
 
 a parody on Taylor's " Manuela " entitled " Martha 
 
 Hopkins." 
 Saturday Review, v. 49, p. 425. 
 Southern Atlantic Quarterly, v. 3, p. 343, by E. R. Rogers. 
 
 Travels in Arabia 
 Saturday Review, v. 34, p. 127. 
 
109 
 
 Travels in Greece and Russia 
 Athenaeum, no. 1665, p. 392. 
 Harper's Magazine, v. 19, p. 836. 
 
 Views Afoot 
 Athenaeum, no. 1007, p. 167. 
 Literary World, December 13, 1884, p. 443. 
 Living Age, v. 13, p. 176. 
 
 North American Review, v. 64, p. 483, by W. B. O. Peabody. 
 Public Opinion, London, May i, 1869, p. 553. 
 Spectator, January 30, 1847, P- m* 
 Spectator, v. 42, p. 540. 
 Union Magazine, November, 1848, p. 239. 
 
 Works Relating to the Theory of Translation 
 
 A Few Remarks on Mr. Hayward's English Prose Transla- 
 tion of Goethe's Faust, with additional observations 
 on the Difficulty of Translating German Works in 
 General, London, 1834, by Daniel Boileau. 
 
 Aphorismen iiber die Kunst der poetischen Uebertragung, 
 Gegenwart, August 8, 1874, pp. 92-94, by Ernst 
 Eckstein. 
 
 Art of translating with special reference to Cauer's Die Kunst 
 des Uebersetzens, Boston, 1901, by H. C. Tolman. 
 
 Aufgaben der Uebersetzungspoesie, Herrig, v. 37, pp. 11-28, 
 137-138, 149-169, by Julius Altmann. 
 
 Aus der Werkstatt, Die Kunst des Uebersetzers, Stuttgart und 
 Berlin, 1904, by Ludwig Fulda. 
 
 Beitrage zur Sprachvergleichung, Prosa, Poesie, Rhythmus 
 und Ubersetzungskunst, Kolozsvar (Klausenburg), 
 1879, by Johannes Minckwitz. 
 
 Deutsche Uebersetzerkunst, Hannover, 1866, by O. F. Gruppe. 
 
 Die Grenzen der Ubersetzungskunst, Karlsruhe, 1892, by Julius 
 Keller. 
 
 Die Kunst des deutschen Uebersetzers, Oldenburg, 1 857-1 858, 
 by Tycho Mommsen. 
 
 Die Kunst des Ubersetzens, Berlin, 1894, by Paul Cauer. 
 
 Difficulty of Translation, Nation, v. 29, p. 387. 
 
110 
 
 Essay on the Principles of Translation, Edinburgh, 1813, by 
 A. F. Tytler, Lord Woodhouselee. 
 
 fitudes sur la Litterature contemporaine, De la Traduction en 
 Vers, Paris, 1886, by Edmond Scherer. 
 
 Impossibility of Poetic Translation, Fortnightly, v. 2, p. 635, 
 by G. H. Lewes. 
 
 La maniere de bien Traduire d'une langue en autre, Lyon, 
 1540, by Estienne Dolet. 
 
 Melanges de Litterature, d'Histoire, et de Philosophic, Amster- 
 dam, 1767, anonymous. 
 
 Oeuvres diver ses de M. L'Abbe Gedoyn, Apologie des Traduc- 
 tions, Paris, 1745. 
 
 Poems and Translations, Preface to the Destruction of Troy, 
 London, 1709, by Sir John Denham. 
 
 Poems and Translations, to Sir Richard Franshaw, upon his 
 Translation of Pastor fido, London, 1709, by Sir 
 John Denham. 
 
 Principien der Uebersetzungskunst, Rawitsch, 1876, by Gustav 
 Week. 
 
 Vom Ubersetzen in das Deutsche und manchen anderen, 
 Giitersloh, 1887, by Dr. Julius Rothfuchs. 
 
 Worin besteht die Uebersetzungskunst?, Lubben, 1871, by Dr. 
 Johannes Ehlers. 
 
 Works of John Dryden, Preface to the Translation of Ovid's 
 Epistles, Edinburgh, 1885, notes by Sir Walter Scott, 
 revised and corrected by George Saintsbury. 
 
Ill 
 
 VITA 
 
 Juliana Catherine Shields was born in Norwich, Connecticut, 
 on the twenty- fourth of January, 1875, and was educated in 
 the public schools of that city. In 1894 she entered the private 
 school of Fraulein Pauline Lange, in Berlin, Germany, where 
 she remained until 1898. During this period she heard lec- 
 tures by Professor Erich Schmidt at the University of Berlin 
 and at the Victoria Lyceum, and was privately instructed by 
 Professor Elise Bartels and Frau Dr. Hempel. From January 
 to June, 1898, she taught Mathematics and Latin at the Nor- 
 wich Free Academy. From September, 1898, to July, 1899, 
 she taught German at the same institution. July ist, 1899, 
 she married Henry S. Haskell, Yale, '92. In September, 1900, 
 she entered the University of Cincinnati, where she studied 
 exclusively under Professor Edward M. Brown and Professor 
 Max Poll. In September, 1902, she entered Barnard College 
 and received in 1904 the degree of A.B., and in 1905 the degree 
 of A.M. Since 1904 she has been continuously in residence at 
 Columbia University. 
 
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