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Brandt’sNarrenschiff;ThomasHoby’sBookoftheCourtier(1561)came
fromCastiglione’sItalian;aSpanishromance,bydeCalahorra,wastranslated
asTheMirrourofKnighthood(1580)byMargaretTyler;Montaigne’s
FrenchEssaysweretranslatedbyJohnFlorio(1603);ChristinedePisan’s
BookoftheCityofLadies,in1521,byBrianAnslay(thelastEnglish
translationofanyofherworksuntilthelatetwentiethcentury).
Therewereopposingviews,hinderingaccesstocertaintexts.Someclaimed
thattranslatingintothevernacularwouldhinderthestudyofLatinandGreek
(Jones1966:19).ScholarscontinuedtoproduceLatintexts,oftenlater
translatedintoEnglish:forexample,SirThomasMore’sUtopia(1516)and
WilliamCamden’sBritannia(c.1586),translatedbyRalphRobinsonin1551
andHollandin1610respectively.JohnSkelton,whoproducedatranslationof
DiodorusSiculusfromtheLatinversionofPoggio,alsowroteseveralworksin
Latin.Norwerealltextsthoughtequallyfitfortranslation.Christopher
Marlowe’stranslationsofOvid,publishedclandestinely,werebannedand
burnedasseditiousin1586byorderoftheArchbishopofCanterbury.Until
1640andEdwardDacre’stranslationofit,Machiavelli’sThePrincewas
availableonlybywayofahostileFrenchtext,theContraMachiavel(1576)
byGentillet,translatedbySimonPaterickein1602.Englishreadershad
similarlytowaituntil1620foracompletetextofBoccaccio’sDecameron,and
until1694forthewholeofRabelais’GargantuaandPantagruel(begun
before1653bySirThomasUrquhart;completedbyPeterMotteux).
Thoughabletocommissionandreadtranslations,womenwerelargely
restricted,asintheMiddleAges,toparticipatingonthepiousfringesof
translationactivity.Ingeneral,womentranslators(usuallygentlyborn,like
MargaretMoreRoperandtheCookesisters)producedliteralreligious
translations(Lamb1985:124),thoughseculartranslationswereproducedby
suchasElizabethI,MargaretTylerandMarySidney.Despitethismarginality,
the‘voices’ofwomentranslators,throughtheirprefaces,constructother
perspectivesonthepracticeoftranslation,whichbrieflydisruptthedominant
maletraditions(Robinson1995).
Inthisperiodtranslationaimed,generally,toadvanceeloquenceand/or
learning.Onoccasion,twoaudienceswereaddressedatonce:thelearnedand
theignorant,thecourtlyandtherude.Dependingonthetypeoftranslation,the
centresoftranslativeactivitywerelocatednowattheuniversities,nowatthe
court.Originalwritingreflectstheclearinfluenceofnewlydiscoveredornewly
valuedforms.ThustheItaliansonnetisavitalelementintheliteraryprojectsof
thesixteenthcentury,translatedandimitatedbyThomasWyattandtheEarlof
Surrey,and‘naturalized’byShakespeare;thepastoral,bywayofGreek
(Theocritus),Latin(MantuanandVirgil)andItalian(TassoandGuarini),takes
rootwithSirPhilipSidneyandEdmundSpenser.Classicalepics,especially
thoseofVirgilandHomer–knowntotheMiddleAgesbutnottranslatedin
theirownrightuntilthesixteenthcentury:Virgil,byGavinDouglas,Surrey,and
ThomasPhaer;Homer,byGeorgeChapman–gaverisetotheepicsof
SpenserandJohnMilton;theepylliaofOvidinfluencedMarlowe,Chapman
andShakespeare;translationsfromGreekandRomandramacontributed
powerfullytotheElizabethanandJacobeantheatre.
Theseventeenthandeighteenthcenturies
Thisperiodoftranslationactivityisdominatedattheendoftheseventeenth
centurybytwofigures,JohnDrydenandAlexanderPope,and,inthelate
eighteenthcentury,bythemorecomplexfigureofAlexanderTytler.
ThedistinctiveemphasesofDrydenandPope,however,canbeseenearlier,in
embryo,intheprefacestoChapman’sIliad,whichhadbystagesattemptedto
negotiateandregularizeatheoreticalframefortheprocessoftranslation.At
first,Chapmanviewedtranslationasstraightforwardlinguisticmimesis(preface
totheSeavenBookesoftheIliad,1598).Hethenmovedtomore
sophisticateddiscussionsofapoeticartoftranslation(prefacetothecomplete
Iliad).Hewasnotaloneinsodoing.Jonson’swoodenlyliteral1604translation
ofHorace’sArsPoeticamighthaveexemplifiedthefirstapproach:thebrilliant
transformationsofRomansatiristsinhisplays,thesecond.
Chapman’sunderstandingsanticipatedevelopmentsduringthenext200years.
First,duringtheexileofthecourttoFranceaftertheCivilWar,courttranslators
oftenpractisedafreertranslationmethodforpoetry,one