[3] Query.—Might it not be argued that the "précieuses" were perhaps spiritual daughters of the euphuists, 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 of [Act 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 recalcitrate is 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 was born only 54 years later.
[10] Note.—In the original, Cyrano calls his opponent "Laridon." This is the name of a degenerate dog. 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.