Photograph from Play.FIFTH ACT.
[1]Note. As to translation of the name Carbon de Castel-Jaloux (suchwasthe name of Cyrano's captain) seenotepage77.[2]Note. "La dentelle des canons."—"Canons" were ornamental lace, embroidery or ribbons around the lower edge of knee-breeches.—Not, as one translation has it: "the canonical gentlemen's lace."[3]Query.—Might it not be argued that the "précieuses" were perhaps spiritual daughters of theeuphuists, disciples of John Lyly, who flourished in England under Queen Elizabeth, about half a century before the time of action here?[4]Note.—Not "an insolent cocktail," as one translation has it.[5]Note.—Literal translation of "nasigère," a word invented by Ragueneau, would be euphuist.[6]Note.—The play on the word "fraise" (both "strawberry" and "ruff") could not be reproduced.[7]Note.—Alexandrine verse adopted here and further on (beginning ofAct II) as being more pompous.[8]Note.—The words "you kick," in the place of "tu récalcitres," were suggested by a friend, as a better translation. But the good critic failed to realise that Cyrano does not use slang, and is almost always, on the contrary, somewhat hyperbolic, addicted to willful oddity of speech.—"Récalcitrant," adj.-part. (doggedly resisting), is frequently used in French. But the infinitive "récalcitrer," though it exists, and the other forms of the verb are seldom, if ever, heard.—Cyrano, therefore, calls up a smile, if not a laugh, by resorting to the verb in the second person, singular, present, indicative.—To recalcitrateis a good English word (see Longfellow), but it is so seldom used that it creates on the English ear the same impression of amused surprise that is induced by the original.[9]Note.—One of the translations that have appeared in the New York daily press renders "Céladon" by reference to Lord Chesterfield! The time of action (first four acts) of "Cyrano de Bergerac" is 1640, and Lord Chesterfield wasbornonly 54 yearslater.[10]Note.—In the original, Cyrano calls his opponent "Laridon." This is the name of a degeneratedog. See fables of La Fontaine ("L'Education").[11]Note.—"L'Envoi," as often written, supposedly in French, is incorrect. It is, in French, when heading the last four lines of a ballade, "Envoi," without the article, l' (le).[12]Note.—Alexandrines were adopted, instead of pentameter, here and further on, with the poets, for the reason that they seem more pompous and better in keeping with the affectation shown by the personages.[13]Note.—The spellingrimeseems preferable torhyme, since rime and rhythm are two very distinct things.[14]Note.—The miserable pun on "puits" (well) was found possible to reproduce. Needless to add that this is ambitious confectioner's verse, intentionally nonsensical.[15]Note.—Ridicuckoldulouswould be an exact translation.[16]Note.—The Duenna, like Roxane, is a "précieuse," an euphuist.[17]Note.—This is a Gascon oath. Like the similar oaths following, it would if translated literally (Blood of God,) lose its picturesque and really innocent character. All of these are oath-sounds rather than oaths, and somewhat oath-evading, after the fashion of "goldarn it," in America.[18]Note.—The name "Castel-Jaloux," in the original, being indicative of Gascon pride and superlativeness, it was thought better to translate it in order to preserve colour. But here arose the question: "Him" or "He" of Haughty-Hall? Both cases have their champions, with most excellent reasons. It was thought, however, that argument might be avoided and the line be made more effective by the insertion of a dash after "Carbon," thus leaving time for the imaginary interrogation: "What Carbon?" following which suspension, the answer is. "He of Haughty-Hall" is the Carbon meant.[19]Note.—The text here, justified by a current French expression, would be too broad in English.[20]Note.—In this tirade, and in the following one,you,thouandsheare intentionally interwoven. When Cyrano is carried by his emotion, he passes fromyoutothou, which latter is, in French, familiar and endearing much more than in English. Then, reclaimed by reason and fearing that he has overstepped the bounds, he returns to the (in French) more formalyou, or resorts to a discreetshe, only to forget himself again and to resume the caressingthou.[21]Note.—"Un point rose qu'on met sur l'i du verbe aimer.""A ruby O"...., as above, may prove, it is thought, a good example ofequivalence, thei, impossible here in English, finding in O a good substitute, calling up, if not exactly the very same image, at least a kindred one fully as good.[22]Note.—Cucurbit("cucurbite") for moon is, in French, as odd as it appears in English. The oddity of the expression, that assimulates Luna to the rotund melon, pumpkin, etc., of the genus of plants known ascucurbita, is in keeping with Cyrano's intentional extravagance of speech.[23]Note.—"Tu croques le marmot" (literally "you are eating the baby") is an allusion to ogres' proverbial taste for infants, coupled with the somewhat slangy meaning: "you are waiting long and impatiently." This in English would be meaningless, and was perforce replaced by what seems to be a fair equivalent.[24]Note.—A French proverb.[25]Note.—Intentional affectation, like that of "his indisposition was sentenced, for high treason."[26]Note.—An evident anachronism, since Molière did not open his Paris theatre until three years later (1658). Given, however, the deep knowledge of seventeenth century matters displayed throughout this drama, the anachronism must be intentional, the poet's object doubtless having been to embody the tradition according to which the "Qu'allait-il faire dans cette galère?" of Molière's "Fourberies de Scapin" (produced only in 1671) was taken from Cyrano de Bergerac's "Le Pédant Joué."[27]Note.—"It" here is Death (feminine in French). The personifyinghesomewhat customary in English poetry, was set aside, and theneutergender was intentionally preserved, because, being more vague, it better represents the terror-strikingunknown, and is more expressive of Cyrano's daringcontemptand repulsion for a loathsomething. Cyrano, who put to flight one hundred men, could not be expected to fear a person, much less a personification.[28]Note.—SeeIntroduction,PrefaceandPrefatory Triolets ("Le Panache").
[1]Note. As to translation of the name Carbon de Castel-Jaloux (suchwasthe name of Cyrano's captain) seenotepage77.
[1]Note. As to translation of the name Carbon de Castel-Jaloux (suchwasthe name of Cyrano's captain) seenotepage77.
[2]Note. "La dentelle des canons."—"Canons" were ornamental lace, embroidery or ribbons around the lower edge of knee-breeches.—Not, as one translation has it: "the canonical gentlemen's lace."
[2]Note. "La dentelle des canons."—"Canons" were ornamental lace, embroidery or ribbons around the lower edge of knee-breeches.—Not, as one translation has it: "the canonical gentlemen's lace."
[3]Query.—Might it not be argued that the "précieuses" were perhaps spiritual daughters of theeuphuists, disciples of John Lyly, who flourished in England under Queen Elizabeth, about half a century before the time of action here?
[3]Query.—Might it not be argued that the "précieuses" were perhaps spiritual daughters of theeuphuists, disciples of John Lyly, who flourished in England under Queen Elizabeth, about half a century before the time of action here?
[4]Note.—Not "an insolent cocktail," as one translation has it.
[4]Note.—Not "an insolent cocktail," as one translation has it.
[5]Note.—Literal translation of "nasigère," a word invented by Ragueneau, would be euphuist.
[5]Note.—Literal translation of "nasigère," a word invented by Ragueneau, would be euphuist.
[6]Note.—The play on the word "fraise" (both "strawberry" and "ruff") could not be reproduced.
[6]Note.—The play on the word "fraise" (both "strawberry" and "ruff") could not be reproduced.
[7]Note.—Alexandrine verse adopted here and further on (beginning ofAct II) as being more pompous.
[7]Note.—Alexandrine verse adopted here and further on (beginning ofAct II) as being more pompous.
[8]Note.—The words "you kick," in the place of "tu récalcitres," were suggested by a friend, as a better translation. But the good critic failed to realise that Cyrano does not use slang, and is almost always, on the contrary, somewhat hyperbolic, addicted to willful oddity of speech.—"Récalcitrant," adj.-part. (doggedly resisting), is frequently used in French. But the infinitive "récalcitrer," though it exists, and the other forms of the verb are seldom, if ever, heard.—Cyrano, therefore, calls up a smile, if not a laugh, by resorting to the verb in the second person, singular, present, indicative.—To recalcitrateis a good English word (see Longfellow), but it is so seldom used that it creates on the English ear the same impression of amused surprise that is induced by the original.
[8]Note.—The words "you kick," in the place of "tu récalcitres," were suggested by a friend, as a better translation. But the good critic failed to realise that Cyrano does not use slang, and is almost always, on the contrary, somewhat hyperbolic, addicted to willful oddity of speech.—"Récalcitrant," adj.-part. (doggedly resisting), is frequently used in French. But the infinitive "récalcitrer," though it exists, and the other forms of the verb are seldom, if ever, heard.—Cyrano, therefore, calls up a smile, if not a laugh, by resorting to the verb in the second person, singular, present, indicative.—To recalcitrateis a good English word (see Longfellow), but it is so seldom used that it creates on the English ear the same impression of amused surprise that is induced by the original.
[9]Note.—One of the translations that have appeared in the New York daily press renders "Céladon" by reference to Lord Chesterfield! The time of action (first four acts) of "Cyrano de Bergerac" is 1640, and Lord Chesterfield wasbornonly 54 yearslater.
[9]Note.—One of the translations that have appeared in the New York daily press renders "Céladon" by reference to Lord Chesterfield! The time of action (first four acts) of "Cyrano de Bergerac" is 1640, and Lord Chesterfield wasbornonly 54 yearslater.
[10]Note.—In the original, Cyrano calls his opponent "Laridon." This is the name of a degeneratedog. See fables of La Fontaine ("L'Education").
[10]Note.—In the original, Cyrano calls his opponent "Laridon." This is the name of a degeneratedog. See fables of La Fontaine ("L'Education").
[11]Note.—"L'Envoi," as often written, supposedly in French, is incorrect. It is, in French, when heading the last four lines of a ballade, "Envoi," without the article, l' (le).
[11]Note.—"L'Envoi," as often written, supposedly in French, is incorrect. It is, in French, when heading the last four lines of a ballade, "Envoi," without the article, l' (le).
[12]Note.—Alexandrines were adopted, instead of pentameter, here and further on, with the poets, for the reason that they seem more pompous and better in keeping with the affectation shown by the personages.
[12]Note.—Alexandrines were adopted, instead of pentameter, here and further on, with the poets, for the reason that they seem more pompous and better in keeping with the affectation shown by the personages.
[13]Note.—The spellingrimeseems preferable torhyme, since rime and rhythm are two very distinct things.
[13]Note.—The spellingrimeseems preferable torhyme, since rime and rhythm are two very distinct things.
[14]Note.—The miserable pun on "puits" (well) was found possible to reproduce. Needless to add that this is ambitious confectioner's verse, intentionally nonsensical.
[14]Note.—The miserable pun on "puits" (well) was found possible to reproduce. Needless to add that this is ambitious confectioner's verse, intentionally nonsensical.
[15]Note.—Ridicuckoldulouswould be an exact translation.
[15]Note.—Ridicuckoldulouswould be an exact translation.
[16]Note.—The Duenna, like Roxane, is a "précieuse," an euphuist.
[16]Note.—The Duenna, like Roxane, is a "précieuse," an euphuist.
[17]Note.—This is a Gascon oath. Like the similar oaths following, it would if translated literally (Blood of God,) lose its picturesque and really innocent character. All of these are oath-sounds rather than oaths, and somewhat oath-evading, after the fashion of "goldarn it," in America.
[17]Note.—This is a Gascon oath. Like the similar oaths following, it would if translated literally (Blood of God,) lose its picturesque and really innocent character. All of these are oath-sounds rather than oaths, and somewhat oath-evading, after the fashion of "goldarn it," in America.
[18]Note.—The name "Castel-Jaloux," in the original, being indicative of Gascon pride and superlativeness, it was thought better to translate it in order to preserve colour. But here arose the question: "Him" or "He" of Haughty-Hall? Both cases have their champions, with most excellent reasons. It was thought, however, that argument might be avoided and the line be made more effective by the insertion of a dash after "Carbon," thus leaving time for the imaginary interrogation: "What Carbon?" following which suspension, the answer is. "He of Haughty-Hall" is the Carbon meant.
[18]Note.—The name "Castel-Jaloux," in the original, being indicative of Gascon pride and superlativeness, it was thought better to translate it in order to preserve colour. But here arose the question: "Him" or "He" of Haughty-Hall? Both cases have their champions, with most excellent reasons. It was thought, however, that argument might be avoided and the line be made more effective by the insertion of a dash after "Carbon," thus leaving time for the imaginary interrogation: "What Carbon?" following which suspension, the answer is. "He of Haughty-Hall" is the Carbon meant.
[19]Note.—The text here, justified by a current French expression, would be too broad in English.
[19]Note.—The text here, justified by a current French expression, would be too broad in English.
[20]Note.—In this tirade, and in the following one,you,thouandsheare intentionally interwoven. When Cyrano is carried by his emotion, he passes fromyoutothou, which latter is, in French, familiar and endearing much more than in English. Then, reclaimed by reason and fearing that he has overstepped the bounds, he returns to the (in French) more formalyou, or resorts to a discreetshe, only to forget himself again and to resume the caressingthou.
[20]Note.—In this tirade, and in the following one,you,thouandsheare intentionally interwoven. When Cyrano is carried by his emotion, he passes fromyoutothou, which latter is, in French, familiar and endearing much more than in English. Then, reclaimed by reason and fearing that he has overstepped the bounds, he returns to the (in French) more formalyou, or resorts to a discreetshe, only to forget himself again and to resume the caressingthou.
[21]Note.—"Un point rose qu'on met sur l'i du verbe aimer.""A ruby O"...., as above, may prove, it is thought, a good example ofequivalence, thei, impossible here in English, finding in O a good substitute, calling up, if not exactly the very same image, at least a kindred one fully as good.
[21]Note.—"Un point rose qu'on met sur l'i du verbe aimer."
"A ruby O"...., as above, may prove, it is thought, a good example ofequivalence, thei, impossible here in English, finding in O a good substitute, calling up, if not exactly the very same image, at least a kindred one fully as good.
[22]Note.—Cucurbit("cucurbite") for moon is, in French, as odd as it appears in English. The oddity of the expression, that assimulates Luna to the rotund melon, pumpkin, etc., of the genus of plants known ascucurbita, is in keeping with Cyrano's intentional extravagance of speech.
[22]Note.—Cucurbit("cucurbite") for moon is, in French, as odd as it appears in English. The oddity of the expression, that assimulates Luna to the rotund melon, pumpkin, etc., of the genus of plants known ascucurbita, is in keeping with Cyrano's intentional extravagance of speech.
[23]Note.—"Tu croques le marmot" (literally "you are eating the baby") is an allusion to ogres' proverbial taste for infants, coupled with the somewhat slangy meaning: "you are waiting long and impatiently." This in English would be meaningless, and was perforce replaced by what seems to be a fair equivalent.
[23]Note.—"Tu croques le marmot" (literally "you are eating the baby") is an allusion to ogres' proverbial taste for infants, coupled with the somewhat slangy meaning: "you are waiting long and impatiently." This in English would be meaningless, and was perforce replaced by what seems to be a fair equivalent.
[24]Note.—A French proverb.
[24]Note.—A French proverb.
[25]Note.—Intentional affectation, like that of "his indisposition was sentenced, for high treason."
[25]Note.—Intentional affectation, like that of "his indisposition was sentenced, for high treason."
[26]Note.—An evident anachronism, since Molière did not open his Paris theatre until three years later (1658). Given, however, the deep knowledge of seventeenth century matters displayed throughout this drama, the anachronism must be intentional, the poet's object doubtless having been to embody the tradition according to which the "Qu'allait-il faire dans cette galère?" of Molière's "Fourberies de Scapin" (produced only in 1671) was taken from Cyrano de Bergerac's "Le Pédant Joué."
[26]Note.—An evident anachronism, since Molière did not open his Paris theatre until three years later (1658). Given, however, the deep knowledge of seventeenth century matters displayed throughout this drama, the anachronism must be intentional, the poet's object doubtless having been to embody the tradition according to which the "Qu'allait-il faire dans cette galère?" of Molière's "Fourberies de Scapin" (produced only in 1671) was taken from Cyrano de Bergerac's "Le Pédant Joué."
[27]Note.—"It" here is Death (feminine in French). The personifyinghesomewhat customary in English poetry, was set aside, and theneutergender was intentionally preserved, because, being more vague, it better represents the terror-strikingunknown, and is more expressive of Cyrano's daringcontemptand repulsion for a loathsomething. Cyrano, who put to flight one hundred men, could not be expected to fear a person, much less a personification.
[27]Note.—"It" here is Death (feminine in French). The personifyinghesomewhat customary in English poetry, was set aside, and theneutergender was intentionally preserved, because, being more vague, it better represents the terror-strikingunknown, and is more expressive of Cyrano's daringcontemptand repulsion for a loathsomething. Cyrano, who put to flight one hundred men, could not be expected to fear a person, much less a personification.
[28]Note.—SeeIntroduction,PrefaceandPrefatory Triolets ("Le Panache").
[28]Note.—SeeIntroduction,PrefaceandPrefatory Triolets ("Le Panache").
Transcriber's NoteApparent printer's errors have been retained, unless stated below.Capitalization, accents and formatting markup have been normalized. Please note that although ellipses as well as punctuation around brackets appear inconsistent, these have been kept true to the text.Although the original text did not have one, aTable of Contentshas been added for the reader's convenience.Missing page numbers are attributed to blank or unnumbered pages in the original text.Illustrations have been moved to the end of each Act.Page139, "seige" changed to "siege". (That during this terrible siege he shall never be cold!)Page139, "CHRISTIAN" changed to "CYRANO". Other editions have Cyrano speaking this line, and it only makes sense when it is spoken by him. (CYRANO(halting).)Page141and156, "Ventrebieu" has been retained. It is believed that this may be a typo for "Ventrebleu", however, multiple volumes in both French and English use the same term.Page150, "Decartes" changed to "Descartes". (.... and I ... will read Descartes.)Page188,CYRANO's name appeared twice in a row without a second character speaking in between. (Once before his line, "We'll give them a salute!" and again before he said "Fire!") This redundancy was corrected.Page192, "vail" changed to "veil". (Roxane is seen in the rear; she is in black, wearing the long veil of a widow.)Page209, "Youé" changed to "Joué". (Given, however, the deep knowledge of seventeenth century matters displayed throughout this drama, the anachronism must be intentional, the poet's object doubtless having been to embody the tradition according to which the "Qu'allait-il faire dans cette galère?" of Molière's "Fourberies de Scapin" (produced only in 1671) was taken from Cyrano de Bergerac's "Le Pédant Joué.")Page210, "genuis" changed to "genius". ('Tis justice, and my dying breath approves; Molière has genius, Christian's beauty won.)Page212, "ROXANE" changed to "LE BRET". Other editions have Le Bret speaking this line, and as Cyrano has just addressed him, it makes better sense. (LE BRET. Oh! speak not thus!)
Apparent printer's errors have been retained, unless stated below.
Capitalization, accents and formatting markup have been normalized. Please note that although ellipses as well as punctuation around brackets appear inconsistent, these have been kept true to the text.
Although the original text did not have one, aTable of Contentshas been added for the reader's convenience.
Missing page numbers are attributed to blank or unnumbered pages in the original text.
Illustrations have been moved to the end of each Act.
Page139, "seige" changed to "siege". (That during this terrible siege he shall never be cold!)
Page139, "CHRISTIAN" changed to "CYRANO". Other editions have Cyrano speaking this line, and it only makes sense when it is spoken by him. (CYRANO(halting).)
Page141and156, "Ventrebieu" has been retained. It is believed that this may be a typo for "Ventrebleu", however, multiple volumes in both French and English use the same term.
Page150, "Decartes" changed to "Descartes". (.... and I ... will read Descartes.)
Page188,CYRANO's name appeared twice in a row without a second character speaking in between. (Once before his line, "We'll give them a salute!" and again before he said "Fire!") This redundancy was corrected.
Page192, "vail" changed to "veil". (Roxane is seen in the rear; she is in black, wearing the long veil of a widow.)
Page209, "Youé" changed to "Joué". (Given, however, the deep knowledge of seventeenth century matters displayed throughout this drama, the anachronism must be intentional, the poet's object doubtless having been to embody the tradition according to which the "Qu'allait-il faire dans cette galère?" of Molière's "Fourberies de Scapin" (produced only in 1671) was taken from Cyrano de Bergerac's "Le Pédant Joué.")
Page210, "genuis" changed to "genius". ('Tis justice, and my dying breath approves; Molière has genius, Christian's beauty won.)
Page212, "ROXANE" changed to "LE BRET". Other editions have Le Bret speaking this line, and as Cyrano has just addressed him, it makes better sense. (LE BRET. Oh! speak not thus!)