book of masterpieces these two conditions should be fulfilled, and when we have at our command versions by masters in English expression, great poets and prose writers of the time, these should be chosen in preference to others. Such choices have been made in the selections included in this volume.
Though all translation, certainly from the æsthetic point of view, is disappointing and inadequate, there are other points of view from which good translations are of the highest importance and value. For persons who have not easy access to the original fountains, they are convenient as a sort of substitute for those clear springs of utterance. They swiftly bring the modern reader at least to the crude thought of the original, to the bare facts there recounted, and where these are, as so often, thoughts of wisdom and facts of vast significance, their value is incontestable. Perhaps one may not go quite so far as Emerson in saying that "What is really best in any book is translatable,—any real insight or broad human sentiment," remembering Emerson's other saying, "I confide in your scholarly character that you spurn translations and read Greek." It still remains true that the best translations preserve for such as read with open and discerning minds very much "that was in their originals to enlarge, liberalize, and refine the mind." Some English translations, too, have a value which is not dependent upon their relation to their originals. They gain this by their own native charm, being themselves English classics. Such is Pope's Iliad, of which Bentley said, "It is a pretty poem, but must not be called Homer." Paraphrases of this character are of course in no sense substitutes for the original. All translations, however, whether mere
