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Cyrano de Bergerac (French Edition), by Edmond Rostand, Ligaran
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Extrait : "Ah ! non ! c'est un peu court, jeune homme ! On pouvait dire... Oh ! Dieu ! ... bien des choses en somme... En variant le ton, - par exemple, tenez : Agressif : « Moi, monsieur, si j'avais un tel nez, Il faudrait sur-le-champ que je me l'amputasse ! » Amical : « Mais il doit tremper dans votre tasse Pour boire, faites-vous fabriquer un hanap ! » Descriptif : « C'est un roc ! ... c'est un pic ! ... c'est un cap ! Que dis-je, c'est un cap ? ... C'est une péninsule !"
- Sales Rank: #1581575 in eBooks
- Published on: 2015-01-30
- Released on: 2015-01-30
- Format: Kindle eBook
Language Notes
Text: French
About the Author
Edmond Eugène Alexis Rostand est né à Marseille le 1er avril 1868 et s'est éteint à Paris le 2 décembre 1918. Il suivit des études dans sa ville natale puis dans la capitale avant de s'orienter vers le droit. Parallèlement à cette activité, Edmond Rostand écrit : des pièces tout d'abord, de la poésie ensuite. Il composa notamment deux pièces en vers pour Sarah Bernhardt, La Princesse lointaine en 1895 et La Samaritaine en 1897. À la fin de cette même année est monté Cyrano de Bergerac qui rencontre immédiatement un triomphe d'une ampleur rarement égalée. Sa pièce suivante, L'Aiglon, reçoit un excellent accueil auprès du public et Edmond Rostand est élu à l'Académie française en 1901. Il continue d'écrire pour le théâtre et La Dernière Nuit de don Juan fut publiée à titre posthume en 1921.
Most helpful customer reviews
32 of 34 people found the following review helpful.
The greatest play of all time...
By Gary S
I've been around theater for quite a while, and I was lucky enough to be in this play twice, once as Cyrano. I've done Shakespeare, O'Neill, Chekhov...and I've never been in a play that comes close to this in terms of dramatic force.
The fashion in French theater at the time it was written was simple domestic drama: husbands and wives and their various conflicts. This play exploded on the scene and there was extremely strong public reaction. (I think there may even have been riots.)
For modern American audiences, I must confess, it's a pretty long haul. Even with some judicious cutting, it's tough to get the thing down close to three hours. But what a ride! Poetry, fight scenes, comedy, tears...it's just incredible.
In all the plays I've done, I've never done one that comes so close to, literally, the meaning of life. Why are we here? What makes human beings act the way they do? Why do people try things that are clearly impossible? It's all in there.
I knew someone in college who gave this paperback edition to everyone he knew as a gift, because it spoke so strongly to him.
Looking back on it now, I'm amazed that I was able to memorize all the text, because I'm convinced that this is the longest role in Western theater...longer than Hamlet, I think.
Hooker's translation has been called the greatest translation of poetry ever, and while I'm not a poetry student, I can agree. Squishing the 6-foot French lines into 5-foot English lines and still retaining the dramatic flow must have been a daunting task.
Anyway, it's the greatest play I have ever seen, read or performed.
31 of 33 people found the following review helpful.
Excellent Play, Mediocre Translation
By Matthew Asnip
Cyrano de Bergerac by Rostand is my favourite play. The French original is a gem in almost every respect. It is wonderfully well written in Alexandrine (a difficult form of verse). Rostand's romantic masterpiece shines not only as a play, but as poetry.
This particular translation (unattributed) is pedestrian. It is accurate, but tin-eared. It is not the Brian Hooker translation. I state that because I wound up buying it in the belief that it was the Hooker translation and was consequently much disappointed.
For any literary work originally written in another language (this, Don Quixote, All Quiet on the Western Front), it is important to pay attention to who is responsible for the translation. Some translators are awful. Some are mediocre (such as whoever did this one). And some are wonderful (Brian Hooker).
For those who are not as enamored of Brian Hooker's work as I am, the Anthony Burgess translation is also quite good.
Caveat Emptor.
15 of 15 people found the following review helpful.
Carol Clark's Cyrano lacks panache'
By Jason L.
I currently own four different translations of Cyrano de Bergerac with another two more on the way. I am truly surprised to see how many new translations are being turned out of this wonderful classic. By far, three of the greatest are Brian Hooker's, Anthony Burgess' and Lowell Blair's. But I wanted to see what was new in the world of Cyrano. Penguin Books is known for its quality and I have seldom been let down.
In this case, I felt let down and disappointed. Carol Clark's translation just doesn't seem to have the feel for the character of Cyrano that so many of us have come to know and love. Though she is one of the few who ends the play with the word "panache'," her translation has too many spots that just don't feel the "white plume of freedom" Cyrano spoke of in rebellion to the the elite who wore their beauty, grace and flair on the outside and those who sucked up to them. Also, Carol Clark takes liberty in changing meaning in certain key places that I particularly did not care for at all. Perhaps her only true innovation is the proper gender tense he uses with regard to his sword which he regards as a "she" as in the original French. She gets too many things wrong to be commended for translating a Cyrano that will endure. I believe it is a novelty.
Let me emphasize that this is not a "bad" rendering "per se"; I feel strongly that it is just not a good rendering. It's merely AVERAGE, mediocre but as Cyrano believed in striving to be the best in everything, perhaps Carol Clark should have taken a page out of his book? I don't believe it will be any more understandable or accessable to today's reader than older translations and the reader will be losing out on so much with this rendering. I feel strongly that the Clark translation plays fast and loose in certain key areas even though she may make up for it in others. Thus she receives an "okay" three stars but I was sorely tempted to give her two.
If you are looking for a brand-new translation and are willing to let go of preconceptions, Carol Clark's Cyrano may be for you. BUT if you are new to Cyrano de Bergerac and want a truer and more faithful version to Edmond Rostand's orginal play, character and the language, I would strongly recommend avoiding this one and purchasing one of the following: any edition by Brian Hooker (his translation was behind the 1950 Jose Ferrer Academy Award winning performance of Cyrana), Lowell Blair (I've become more fond of this one with each reading) or finding one of the Anthony Burgess editions (Gerard Depardieu's Cyrano movie's English sub-titles as well as countless plays have used this edition). These three are all 5 star translations. Christopher Fry's rhyming couplet Cyrano by Oxford is good (4 star) but not up to the standard of the three authors I have listed as alternatives to Clark.
In conclusion, I would say this: Will I read this play more than once? Perhaps, but only for comparison to the other better translations of Cyrano I have but never for enjoyment as I do with my other versions. A newcomer to Cyrano might enjoy this rendering and fall in love with the character but I personally don't see how; the translator has robbed Cyrano of much of his inner panache' and the other characters of their own unique qualities. I do not believe this translation has any staying power and will quickly be swept aside for the familiar and better translations that have been around longer, having already stood the test of time. For while the authors I have cited as alternatives may have different styles, they all tap into Cyrano's inner panache', his white plume of freedom, flair and independence whereas Clark's version seems to me to be just revision for revisionist sake without any vision or pathos or the wit that has set Cyrano apart since 1897.
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