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It had the effect, however, of bringing out a translation undertaken and

executed in a very different spirit, that of Charles Jervas, the portrait

painter, and friend of Pope, Swift, Arbuthnot, and Gay Jervas has been

allowed little credit for his work, indeed it eneral as Jarvis's It was not published until

after his death, and the printers gave the na to the current

pronunciation of the day It has been the most freely used and the most

freely abused of all the translations It has seen far more editions than

any other, it is admitted on all hands to be by far the ood word to say for it or for its author

Jervas no doubt prejudiced readers against hi many true words about Shelton, Stevens, and Motteux, he rashly and

unjustly charges Shelton with having translated not from the Spanish, but

from the Italian version of Franciosini, which did not appear until ten

years after Shelton's first volume A suspicion of incompetence, too,

seems to have attached to him because he was by profession a painter and

a iven us the best portrait we have of

Swift), and this thened by Pope's re Spanish" He has been

also charged with borrowing froed It is true

that in a few difficult or obscure passages he has followed Shelton, and

gone astray with him; but for one case of this sort, there are fifty

where he is right and Shelton wrong As for Pope's dictum, anyone who

exainal, will

see that he was a sound Spanish scholar, incomparably a better one than

Shelton, except perhaps in mere colloquial Spanish He was, in fact, an

honest, faithful, and painstaking translator, and he has left a version

which, whatever its shortcoularly free from errors

and mistranslations