STREETER, H. W. The
18th Century English Novel in French Translation, a bibliographical
Study. NY: Benjamin Blom, 1970. [PR 855 STR]
Presuppositions: “Throughout the first half of the 18th
century the French idea of translation was in complete accord with the
prevailing neo-classic doctrine of “bienséances”. It was the chief obligation
of the French translator to modify the words of foreign literature, in order
that they might satisfy French tradition of taste”. As the French dictate good
taste, the French translator ignored the distinctiveness of the authors, giving
free reign to his creative powers.
The Englishman was represented as an individualist,
reveling in his personal liberty, and as a philosopher, delighting in profound
melancholy. Yet the Englishman’s very love of unrestricted freedom led him
inevitably to extravagance, especially in his language and his literature, in
which in his unbridled imagination frequently carried him beyond the limits
imposed by good taste and decency. [What
about Sade?]
English: too verbose, extremely voluminous and digressive
introducing matters that don’t have to do with the discussion. Magnificent but exaggerated
and dangerous energy.
“The gothic romance in France: Walpole, Reeve, Lewis, Radcliffe.”
(p.117)
As the novel became more and more romanesque, in
response to the public demand for stronger emotions, the tale of terror was the
logical outcome of its development. In spite of the great popularity of the
novels of Fielding and Richardson the inevitable reaction set in after they had
their day.”
“The Castle of
Otranto, by H. Walpole, which appeared 11 years later [Smollet’s Ferdinand Court Fathom], marks the first
excursion into the supernatural. Its extravagances set the example for the
novels of Mathew Lewis, and the masterpieces of Radcliffe and Scott.” In France
it didn’t really cause excitement.
Italian,
Mysteries of Udolpho and
The Monk initiated the vogue of
gothic romance in France. Lewis was preferred for its extravagance and
complexity. Due to the English writers’ success, similar novels hit the press
between 1797 and 1799. It decreased with the ascension of Napoleon as
classicism made it back in vogue until it was then, again, restored to popularity
by Romanticism.
During the last few years of the century (18th) the
Radcliffean school progressed with astonishing rapitidy. Animated by the
commercial spirit, taking no interest in originality, quantity rather than
quality was the order of the day and countless tales of horror were put out. No
French writer matched the English rivals.
Ducray – Dumimil, who wrote sentimental novels for the
shopkeepers and seamstresses of the Paris faubourgs, may have been inspired by
Mrs. Radcliffe in Coelina, or L’Efant du
Mystere.
“The popular novel initiated by Ducray – Dumimil , was
continued by Eugene Sue and inspired the “roman feuilleton.” Melodrama, to
which the Gothic romance had greatly contributed, furnished a background to the
romantic theater of Hugo and Dumas Pére.” (p.122).
