d 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 brawling 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 "Shah
Nameh." 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 Shah Nameh contained in the present collection. When we
consider that the Persian original consists of some one hundred and
twenty thousand lines, it will easily be understood that a literal
rendering of the whole would make a volume whose bulk would put it far
out of reach to the general reader. Atkinson has very wisely furnished
us with a masterly _resume_ of the chief episodes, each of which he
outlines in prose, occasionally flashing out into passages of sparkling
verse, which run through the narrative like golden threads woven into
the tissue of some storied tapestry. The literary style of the
translator is admirable. Sometimes, as when he describes the tent of
Manijeh, he becomes as simple and direct as Homer in depicting the
palace of Alcinous. The language