y their
Fore-fathers used to sit together like an Audience of Foreigners in
their own Country, and to hear whole Plays acted before them in a Tongue
which they did not understand.

'Arsinoe' [1] was the first Opera that gave us a Taste of Italian
Musick. The great Success this Opera met with, produced some Attempts of
forming Pieces upon Italian Plans, [which [2]] should give a more
natural and reasonable Entertainment than what can be met with in the
elaborate Trifles of that Nation. This alarm'd the Poetasters and
Fidlers of the Town, who were used to deal in a more ordinary Kind of
Ware; and therefore laid down an establish'd Rule, which is receiv'd as
such to this [Day, [3]] 'That nothing is capable of being well set to
Musick, that is not Nonsense.'

This Maxim was no sooner receiv'd, but we immediately fell to
translating the Italian Operas; and as there was no great Danger of
hurting the Sense of those extraordinary Pieces, our Authors would often
make Words of their own [which[ 4]] were entirely foreign to the Meaning
of the Passages [they [5]] pretended to translate; their chief Care
being to make the Numbers of the English Verse answer to those of the
Italian, that both of them might go to the same Tune. Thus the famous
Song in 'Camilla',

'Barbara si t' intendo, &c.'

Barbarous Woman, yes, I know your Meaning,

which expresses the Resentments of an angry Lover, was translated into
that English lamentation:

'Frail are a Lovers Hopes, &c.'

And it was pleasant enough to see the most refined Persons of the
British Nation dying away and languishing to Notes that were filled with
a Spirit of Rage and Indignation. It happen'd also very frequently,
where the Sense was rightly translated, the necessary Transposition of
Words [which [6]] were drawn out of the Phrase of one Tongue into that
of another, made the Musick appear very absurd in one Tongue that was
very natural in the other. I remember an Italian verse that ran thus
Word for Word,

'And turned my Rage, into Pity;'

which the English for Rhime sake translated,

'And into Pity turn'd my Rage.'

By this Means the soft Notes that were adapted to Pity in the Italian,
fell upon the word Rage in the English; and the angry Sounds that were
turn'd to Rage in the Original, were made to express Pity in the
Translation. It oftentimes happen'd likewise, that the finest Notes in
the Air fell upon the most insignificant Words in the Sentence. I ha