fancies as the serpents that grew from the shoulders of King Zodak, or the ladder of Zerdusht, on which he mounted from earth to heaven—all these and a hundred other fancies compare unfavorably with the reserve of Homer, in his use of such a personage as Circe, and the human grace and dignity which he lends to that genial circle on Olympus, whose inextinguishable laughter is called forth by the halting wine-bearer a god like themselves. While we read the “Shah Nameh” with keen interest, because from its study the mind is enlargd and stimulated by new scenes, new ideas and unprecedented situations, we feel grateful that the battle of Salamis stopped the Persian invasion of Europe, which would doubtless have resulted in changing the current of literature from that orderly and stately course which it had taken from its fountain in a Greek Parnassus, and diverted it into the thousand brawding rills of Persian fancy and exaggeration.
It is a hundred years ago that a certain physician in the employment of the East India Company, who then represented British supremacy in Bengal and Calcutta, published the “Story of Sohrab,” a poem in heroic couplets, being a translation of the most pathetic episode in the “Sháh Námeh.” If we compare this English poem with Jules Mohl’s literal translation of the Persian epic into French, we find that James Atkinson stands very much in the same relation to Firdusi as Pope does to Homer. It would be indeed absurd for an English writer to attempt to conform, in an English version, to the vagaries of Persian idiom, or even to attempt a literal rendering of the Persian trope. The manner of a poet can never be faithfully reproduced in a translation, but all that is really valuable, really affecting, in an epic poem will survive transfusion into the frank and natural idiom of another tongue. We say epic poem, because one of the distinguishing features in this form of literary expression is that its action hinges on those fundamental passions of humanity, that “touch which makes the whole world kin,” whose alphabet is the same in every latitude. The publication of “Sohrab” was nevertheless the revelation of a new world to London coteries, and the influence of Mr. Atkinson’s work can be traced as well in the Persian pastorals of Collins as in the oriental poems of Southey and Moore. This metrical version of “Sohrab” is the only complete episode of the
