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SCN 73 3&4 Complete.Pdf (546.7Kb) EVENTEENTH- ENTURY EWS FALL - WINTER 2015 Vol. 73 Nos. 3&4 Including THE NEO-LATIN NEWS Vol. 63, Nos. 3&4 SEVENTEENTH-CENTURY NEWS VOLUME 73, Nos. 3&4 FALL-WINTER, 2015 An official organ of the Milton Society of America and of the Milton Section of the Modern Language Association, SCN is published as a double issue two times each year with the support of the English Department at Texas A&M University. SUBMISSIONS: As a scholarly review journal, SCN publishes only commissioned reviews. As a service to the scholarly community, SCN also publishes news items. A current style sheet, previous volumes’ Tables of Contents, and other informa- tion all may be obtained via at www.english.tamu.edu/scn/. Books for review and queries should be sent to: Prof. Donald R. Dickson English Department 4227 Texas A&M University College Station, Texas 77843-4227 E-Mail: [email protected] www.english.tamu.edu/scn/ and journals.tdl.org/scn ISSN 0037-3028 SEVENTEENTH-CENTURY NEWS EDITOR DONALD R. DICKSON Texas A&M University ASSOCIATE EDITORS Michele Marrapodi, University of Palermo Patricia Garcia, University of Texas E. Joe Johnson, Clayton State University EDITORIAL ASSISTANT Megan Pearson, Texas A&M University Caitlin M. Cook, Texas A&M University contents volume 73, nos. 3&4 ................................fall-winter, 2015 reviews Anna K. Nardo, Oculto a los Ojos Mortales: Introducción a “El Paraíso Perdido” de John Milton. Review by Reuben Sanchez ..................................... 89 Helen Lynch, Milton and the Politics of Public Speech. Review by Daniel Ellis .................................................................... 94 Reuben Sánchez, Typology and Iconography in Donne, Herbert, and Milton: Fashioning the Self after Jeremiah. Review by Mitchell M. Harris ...................................................... 97 Leslie C. Dunn and Katherine R. Larson, eds., Gender and Song in Early Modern England. Review by Victoria E. Burke ............................. 101 Leah Knight, Reading Green in Early Modern England. Review by Maria Salenius ............................................................ 107 Thomas Traherne, The Works of Thomas Traherne. Jan Ross ed. Review by Cassandra Gorman ..................................................... 112 Rebecca Herissone and Alan Howard, eds., Concepts of Creativity in Seventeenth-Century England. Review by Anna Lewton-Brain ...... 116 Allison K. Deutermann and András Kiséry, eds., Formal Matters: Reading the Materials of English Renaissance Literature. Review by P.G. Stanwood ............................................................. 121 David Coleman, ed., Region, Religion and English Renaissance Literature. Review by Greg Bentley............................................................... 124 Pierre-Esprit Radisson, The Collected Writings Volume 2: The Port Nelson Relations, Germaine Warkentin ed. Review by M. G. Aune ............ 127 Michael Edwards, Time and The Science of The Soul In Early Modern Philosophy. Review by Karin Susan Fester .................................... 131 Margaret E. Boyle, Unruly Women: Performance, Penitence, and Punishment in Early Modern Spain. Review by Elizabeth R. Wright .............. 135 Fiona Williamson, Social Relations and Urban Space: Norwich, 1600-1700. Review by Joseph P. Ward ............................................................. 140 Rhys Morgan, The Welsh and the Shaping of Early Modern Ireland. Review by Chris R. Langley ......................................................... 143 James Anderson Winn, Queen Anne: Patroness of Arts. Review by Molly McClain ........................................................... 148 Dirk Weimann and Gaby Mahlberg, eds., Perspectives on English Revolutionary Radicalism.Review by Marc Schwarz ............................................ 151 Ross W. Duffin, The Music Treatises of Thomas Ravenscroft: ‘Treatise of Practicall Musick’ and A Briefe Discourse. Review by Jeffrey Meyer ............... 153 Feike Dietz, Adam Morton, Lien Roggen, Els Stronks, and Marc Van Vaeck, eds., Illustrated Religious Texts in the North of Europe, 1500–1800. Review by Jennifer Lee ................................................................. 159 Aneta Georgievska-Shine and Larry Silver, Rubens, Velázquez, and the King of Spain. Review by Livia Stoenescu ............................................. 164 Livio Pestilli, Paolo de Matteis: Neapolitan Painting and Cultural History in Baroque Europe. Review by Eve Straussman-Pflanzer ................. 167 W. Scott Howard, ed. An Collins and the Historical Imagination. Review by Kavita Mudan Finn ..................................................... 175 Leif Dixon, Practical Predestinarians in England, c. 1590-1640. Review by Andrew J. Martin ....................................................... 179 Neo-Latin News ................................................................................ 184 89 seventeenth-century news Anna K. Nardo. Oculto a los Ojos Mortales: Introducción a “El Paraíso Perdido” de John Milton. JPM Ediciones, Newgate Series, 2014. 105 pp. 12,00€. Review by Reuben Sánchez, Sam Houston State University. In eighteenth-century Spain, there were two reasons why many English texts, including Paradise Lost, were finally translated into Span- ish and published. First, the Spanish Inquisition’s control of censor- ship, which began in 1478, waned. Second, the influence of French language and culture throughout Europe resulted in many French translations of English texts, with some of those French translations subsequently translated into Spanish. The first appearance of Paradise Lost in Spain occurred in a 1772 work both scholarly and satirical, in which José de Cadalso translated selected passages (the invocation to Book 1, for example) and placed them along side the original English. The first translation of a complete book (Book 1) occurred in 1777, in Castilian Spanish—castellano, the Spanish dialect sometimes associ- ated with northern Spain, though also considered standard Spanish; Gaspar Melchor de Jovellanos translated Milton’s blank verse into blank endecasílabos (hendecasyllables). The first Spanish translation of the entire epic was the1802-05 rhymed edition by Benito Ramón de Hermida, though it did not appear in print until after Hermida’s death in 1814. Two years earlier, Juan de Escoiquiz published his Spanish version of the epic, which he translated directly from the 1805 French translation of PL by Jacques Delille. Escoiquiz’ rhymed lines are usu- ally twelve-syllables long, sometimes eleven; further, as he declares in his “Prologo del Traductor” (Translator’s Prologue), he intends to catholicize Milton by omitting anti-Catholic passages while greatly expanding other passages—the result, a polemically and aesthetically challenged poem about as twice as long as the original. Fortunately, after these belated, initial steps, other Spanish verse translations fol- lowed in the nineteenth- and early twentieth-centuries. Some transla- tions even participated in what by then had become an iconographic tradition: the illustrated edition of Paradise Lost. For example, in 1868 a Columbian diplomat named Aníbal Galindo published a verse translation of PL in Castilian Spanish in Belgium, which was reissued in Spain in 1886 with Gustave Doré’s illustrations, composed in the 90 seventeenth-century news 1860s. A verse translation of Paradise Lost in Catalan—the language of Catalonia, in northeastern Spain and the bordering regions of France—by Boix i Selva, El Paradís Perdut, appeared in 1950. Spain in the late twentieth- and early twenty-first centuries witnessed five translations in Castilian Spanish: Esteban Pujals (1986, Madrid), Manuel Alvarez de Toledo Morenés (1988, Cadiz), Abilio Echeverría (Barcelona, 1993), Bel Atreides (2005, Barcelona), and Enrique López Castellón (2005, Madrid). With so many modern translations, which evidences a growing readership, one might imagine the present-day reader would benefit from a useful, scholarly introduction to this epic. Which is what Anna K. Nardo provides in her excellent Oculto a los Ojos Mortales: Introducción a “El Paraíso Perdido” de John Milton (Hid- den from Mortal Eyes: Introduction to “Paradise Lost” by John Milton). Nardo intends her book for first-time readers of Paradise Lost. In her “Prólogo,” she discusses three modern Spanish translations, those by Pujals, Atreides, and López, concerning herself not only with the quality of the poetry but more importantly with the translator’s ability to convey Milton’s argument and ideas as accurately as possible. Any translator will face the challenge of finding an appropriate equivalent to Milton’s blank verse. Nardo suggests the endecasílabos of Pujals and López result in a more extended verse than Milton’s—not merely the extra syllable per line, but more words and more lines overall. In contrast, Atreides’ amétrico trocaico (trocaic meter) results not neces- sarily in shorter lines but rather in a compact form of expression. Such economy of expression allows for a more accurate presentation, say, of God’s speech patterns, which tend toward the monosyllabic. As an example of God’s “Freely they stood who stood, and fell who fell” (3.102), Nardo offers Pujals’ translation: . libremente Permanecieron fieles los que así Se mantuvieron, y también cayeron Libremente aquellos que quisieron. Note the eleven-syllable lines, with three of the four final syllables unaccented; the internal rhymes and end rhymes in this passage seem accidental. The passage thus rendered is
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