1.

Mr. White, the Tutor, is more and more pleased with young Mr. Black; and, when the latter asks him for some hints for writing Latin, Mr. White takes him into his confidence and lends him a number of his own papers. Among others he puts the following into Mr. Black's hands.

Mr. White's view of Latin translation.

“There are four requisites of good Composition,—correctness of vocabulary, or diction, syntax, idiom, and elegance. Of these, the two first need no explanation, and are likely to be displayed by every candidate. The last is desirable indeed, but not essential. The point which requires especial attention is idiomatic propriety.

“By idiom is meant that use of words which is peculiar to a particular language. Two nations may have corresponding words for the same ideas, yet differ altogether in their mode of using those words. For instance, ‘et’ means ‘and,’ yet it does not always admit of being used in Latin, where ‘and’ is used in English. ‘Faire’ may be French for ‘do’; yet in a particular phrase, for ‘How do you do?’ ‘faire’ is not used, but ‘se porter,’ viz., ‘Comment vous portez-vous?’ An Englishman or a Frenchman would be almost unintelligible and altogether ridiculous to each other, who used the French or English words, with the idioms or peculiar uses of his own language. [pg 363] Hence, the most complete and exact acquaintance with dictionary and grammar will utterly fail to teach a student to write or compose. Something more is wanted, viz., the knowledge of the use of words and constructions, or the knowledge of idiom.

“Take the following English of a modern writer:

“ ‘This is a serious consideration:—Among men, as among wild beasts, the taste of blood creates the appetite for it, and the appetite for it is strengthened by indulgence.’

“Translate it word for word literally into Latin, thus:—

“ ‘HÆc est seria consideratio. Inter homines, ut inter feras, gustus sanguinis creat ejus appetitum, et ejus appetitus indulgenti roboratur.’

“Purer Latin, as far as diction is concerned, more correct, as far as syntax, cannot be desired. Every word is classical, every construction grammatical: yet Latinity it simply has none. From beginning to end it follows the English mode of speaking, or English idiom, not the Latin.

“In proportion, then, as a candidate advances from this Anglicism into Latinity, so far does he write good Latin.

“We might make the following remarks upon the above literal version.

“1. ‘Consideratio’ is not ‘a consideration;’ the Latins, having no article, are driven to expedients to supply its place, e.g., quidam is sometimes used for a.

“2. ‘Consideratio’ is not ‘a consideration,’ i.e., a thing considered, or a subject; but the act of considering.

“3. It must never be forgotten, that such words as ‘consideratio’ are generally metaphorical, and therefore cannot be used simply, and without limitation or explanation, [pg 364] in the English sense, according to which the mental act is primarily conveyed by the word. ‘Consideratio,’ it is true, can be used absolutely, with greater propriety than most words of the kind; but if we take a parallel case, for instance, ‘agitatio,’ we could not use it at once in the mental sense for ‘agitation,’ but we should be obliged to say ‘agitatio mentis, animi,’ etc., though even then it would not answer to ‘agitation.’

“4. ‘Inter homines, gustus,’ etc. Here the English, as is not uncommon, throws two ideas together. It means, first, that something occurs among men, and occurs among wild beasts, and that it is the same thing which occurs among both; and secondly that this something is, that the taste of blood has a certain particular effect. In other words, it means, (1) ‘this occurs among beasts and men,’ (2) viz., that the ‘taste of blood,’ etc. Therefore, ‘inter homines, etc., gustus creat, etc.,’ does not express the English meaning, it only translates its expression.

“5. ‘Inter homines’ is not the Latin phrase for ‘among.’ ‘Inter’ generally involves some sense of division, viz., interruption, contrast, rivalry, etc. Thus, with a singular noun, ‘inter coenam hoc accidit,’ i.e., this interrupted the supper. And so with two nouns, ‘inter me et Brundusium CÆsar est.’ And so with a plural noun, ‘hoc inter homines ambigitur,’ i.e., man with man. ‘Micat inter omnes Julium sidus,’ i.e., in the rivalry of star against star. ‘Inter tot annos unus (vir) inventus est,’ i.e., though all those years, one by one, put in their claim, yet only one of them can produce a man, etc. ‘Inter se diligunt,’ they love each other. On the contrary, the Latin word for ‘among,’ simply understood, is ‘in.’

“6. As a general rule, indicatives active followed by accusatives, are foreign to the main structure of a Latin sentence.

2.

Old Mr. Black's Confession of his search after a Latin style.

“The attempts and the failures and the successes of those who have gone before, my dear son, are the direction-posts of those who come after; and, as I am only speaking to you, it strikes me that I may, without egotism or ostentation, suggest views or cautions, which might indeed be useful to the University Student generally, by a relation of some of my own endeavours to improve my own mind, and to increase my own knowledge in my early life. I am no great admirer of self-taught geniuses; to be self-taught is a misfortune, except in the case of those extraordinary minds, to whom the title of genius justly belongs; for in most cases, to be self-taught is to be badly grounded, to be [pg 367] slovenly finished, and to be preposterously conceited. Nor, again, was that misfortune I speak of really mine; but I have been left at times just so much to myself, as to make it possible for young students to gain hints from the history of my mind, which will be useful to themselves. And now for my subject.

“At school I was reckoned a sharp boy; I ran through its classes rapidly; and by the time I was fifteen, my masters had nothing more to teach me, and did not know what to do with me. I might have gone to a public school, or to a private tutor for three or four years; but there were reasons against either plan, and at the unusual age I speak of, with some inexact acquaintance with Homer, Sophocles, Herodotus, and Xenophon, Horace, Virgil, and Cicero, I was matriculated at the University. I had from a child been very fond of composition, verse and prose, English and Latin, and took especial interest in the subject of style; and one of the wishes nearest my heart was to write Latin well. I had some idea of the style of Addison, Hume, and Johnson, in English; but I had no idea what was meant by good Latin style. I had read Cicero without learning what it was; the books said, ‘This is neat Ciceronian language,’ ‘this is pure and elegant Latinity,’ but they did not tell me why. Some persons told me to go by my ear; to get Cicero by heart; and then I should know how to turn my thoughts and marshal my words, nay, more, where to put subjunctive moods and where to put indicative. In consequence I had a vague, unsatisfied feeling on the subject, and kept grasping shadows, and had upon me something of the unpleasant sensation of a bad dream.

“When I was sixteen, I fell upon an article in the Quarterly, which reviewed a Latin history of (I think) the Rebellion of 1715; perhaps by Dr. Whitaker. [pg 368] Years afterwards I learned that the critique was the writing of a celebrated Oxford scholar; but at the time, it was the subject itself, not the writer, that took hold of me. I read it carefully, and made extracts which, I believe, I have to this day. Had I known more of Latin writing, it would have been of real use to me; but as it was concerned of necessity in verbal criticisms, it did but lead me deeper into the mistake to which I had already been introduced,—that Latinity consisted in using good phrases. Accordingly I began noting down, and using in my exercises, idiomatic or peculiar expressions: such as ‘oleum perdidi,’ ‘haud scio an non,’ ‘cogitanti mihi,’ ‘verum enimvero,’ ‘equidem,’ ‘dixerim,’ and the like; and I made a great point of putting the verb at the end of the sentence. What took me in the same direction was Dumesnil's Synonymes, a good book, but one which does not even profess to teach Latin writing. I was aiming to be an architect by learning to make bricks.

“Then I fell in with the Germania and Agricola of Tacitus, and was very much taken by his style. Its peculiarities were much easier to understand, and to copy, than Cicero's: ‘decipit exemplar vitiis imitabile;’ and thus, without any advance whatever in understanding the genius of the language, or the construction of a Latin sentence, I added to my fine words and cut-and-dried idioms, phrases smacking of Tacitus. The Dialogues of Erasmus, which I studied, carried me in the same direction; for dialogues, from the nature of the case, consist of words and clauses, and smart, pregnant, or colloquial expressions, rather than of sentences with an adequate structure.”

Mr. Black takes breath, and then continues:

“The labour, then, of years came to nothing, and when I was twenty I knew no more of Latin composition than [pg 369] I had known at fifteen. It was then that circumstances turned my attention to a volume of Latin Lectures, which had been published by the accomplished scholar of whose critique in the Quarterly Review I have already spoken. The Lectures in question had been delivered terminally while he held the Professorship of Poetry, and were afterwards collected into a volume; and various circumstances combined to give them a peculiar character. Delivered one by one at intervals, to a large, cultivated, and critical audience, they both demanded and admitted of special elaboration of the style. As coming from a person of his high reputation for Latinity, they were displays of art; and, as addressed to persons who had to follow ex tempore the course of a discussion delivered in a foreign tongue, they needed a style as neat, pointed, lucid, and perspicuous as it was ornamental. Moreover, as expressing modern ideas in an ancient language, they involved a new development and application of its powers. The result of these united conditions was a style less simple, less natural and fresh, than Cicero's; more studied, more ambitious, more sparkling; heaping together in a page the flowers which Cicero scatters over a treatise; but still on that very account more fitted for the purpose of inflicting upon the inquiring student what Latinity was. Any how, such was its effect upon me; it was like the ‘Open Sesame’ of the tale; and I quickly found that I had a new sense, as regards composition, that I understood beyond mistake what a Latin sentence should be, and saw how an English sentence must be fused and remoulded in order to make it Latin. Henceforth Cicero, as an artist, had a meaning, when I read him, which he never had had to me before; the bad dream of seeking and never finding was over; and, whether I ever wrote Latin or not, at least I knew what good Latin was.