ging. On the other hand, I was compelled to write in a Pariſian ſaloon, amid the glare of meretricious gilding, almoſt under the ſhadow of the great triumphal arch—one of thoſe gigantic memorials of human victories which for the cauſe of human civilization had much better be forgotten than commemorated; the canvas on the walls ſwarming with young fauns, cupids, and other Pagan devices.
"In making the tranſlation I kept in view three or four leading objects which I will briefly ſtate.
"1. An inflexible adherence to the rhythm.
"2. A faithful preſervation of every thought contained in the original.
"3. A vigorous excluſion of every thought not contained in it.
"4. A preſervation as far as poſſible, of the tenderneſs of feeling and expreſſion, which is the characteriſtic of the hymn."
The ſecond of the new tranſlations is by that accompliſhed author, two of whoſe remarkable renderings of the Dies Iræ already enrich this work. Of the verſion now given a diſtinguiſhed ſcholar ſays, " The Engliſh double rhyme rarely
expreſſes the melody and pathos of the Latin. Dr. Abraham Coles, of Newark, has probably beſt succeeded in a faithful rendering of the Mater Doloſa."—Dr. Philip Schaff.
A further expoſition of the Stabat Mater is given in the newly found companion-hymn, Stabat
