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So at least says Leofric's paraphrast, who tells long, confused stories of battles and campaigns, some of them without due regard to chronology; for it is certain that the brave Frisians could not on Robert's first landing have "feared lest they should be conquered by foreigners, as they had heard the English were by the French," because that event had not then happened.
Of such idiosyncrasy, both in letters and in other work, few men have had more than the author of Euphranor and (as we have had to say before) the "translator or paraphrast" not merely of Persian but of Spanish and Greek masterpieces. It is indeed notorious that it was in this latter capacity that he showed the individuality of his genius most strongly. It is a frequently but perhaps idly disputed question how much is Omar and how much FitzGerald, while the problem might certainly be extended by asking how much is Aeschylus and how much Calderon in his versions of those masters: but it does not concern us here. What does concern us is the fact that he has contrived to make his most famous exercise in translation signally, and the others to some extent, not dead "versions," but as it were reincarnations of the original, the spirit or the flesh (whichever anyone pleases) being his own, or both being blended of his and the author's. To do this requires a "strong nativity" though not in the equivocal sense in which another great translator of FitzGerald's own type used that term. It shows in his scanty "original" work: but it shows also and perhaps more strongly in his letters. Everyone who has studied the history of the English Universities in connection with that of English literature knows, even if he has not been fortunate enough to experience it, the remarkable fashion in which, at certain times, colleges and coteries at Oxford and Cambridge have seemed to throw a strange and almost magical influence over a generation (hardly more) of undergraduates. There was unmistakably such an aura or atmosphere about in Trinity College, Cambridge, during the last of the twenties and the first of the thirties of the nineteenth century a spirit of literature and humour, of seriousness and jest, of prose sense and half mystical poetry which produced things as diverse as The Dying Swan and Clarke's Library of Useless Knowledge, Vanity Fair and the English Rubaiy
The whole of the seventh book, is little more than a paraphrase of a few verses of Genesis. What he has added is so little incongruous with his original, that most English men and women would probably have some difficulty in discriminating in recollection the part they derive from Moses, from that which they have added from the paraphrast.
If, however, anyone insists on a formal and more or less complete presentation, already existing, of nineteenth century "Letters" in a body by a single writer, the palm must probably be given to those (already referred to) of the translator or paraphrast of Omar Khayy
It thus appears that Julius Caesar is gratuitously introduced by the English paraphrast, nothing appearing in the original inscription to determine its application, or render it more probable, that the reference should be to Julius Caesar, than to Domitian; and the two first lines given by Ruris, have evidently been introduced by way of transferring the subject to our own country.
Even that scene where Cora describes the "white buds" and "crimson blossoms" of her infant's teeth, which I have often heard cited as a specimen of Sheridan's false ornament, is indebted to this unknown paraphrast for the whole of its embroidery.
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