ACTIONS DE GRACE D'APEMANTUS
Dieux Immortels ! Je ne vous prie Que pour moi seul. Vers vous ne crie Pour de l'or vil. Que ne sois fou Pour me fier à nul grigou, Non pas plus qu'à fille de joie, Non pas plus qu'à chien qui n'aboie, Non plus que pour ma liberté A gardien de l'autorité ; Apémantus ! Allons, courage !
Point n'en demande davantage.
Le crime, — c'est la vérité, Est au riche .... H est patenté
Pour en dévider les bobines
Moi ! ... je ne vis que de racines !
(Perthshire Advertiser, 21 th Apriï, 1874 J
The times are changed since Voltaire declared that there was no merit in Shakespeare's plays, and gave his countryrnen some burlesques — not very creditable to his critical acumen — of what the English thought the best productions in their language. His want of appréciation is somewhat excused by the considération which Madam de Staël has presented — that we are a Teutonic, the French a Latin race, and while the works of nations of either of thèse, descents translate easily among themselves, it is very difhcult to translate them into a language of the other branch. And so essentially idio.matic is Shakespeare's writing that in the best of translations the percentage of its beauty that must be lost, is very large. Of late years, however, the French mmd has done justice to
the great dramatist, and the funeral is still récent in our memories of young François Victor Hugo, who was so sympathetic and successful'a translator of his works. Blank verse is unknown in France, and Hugo employed prose. The Chevalier de Châtelain is a gentleman who, during the latter portion of a life extending now to upwards of 73 years, has been engaged upon a similar labour, and whose last volume is now before us. He translates in verse, and employs the rhyming couplet. Strange as the idea of Shakespeare in rhyme sounds to English ears, that is the form in which the great French tragédies are written, and we can assure our readers that the Chevalier has done his work reverently and well. Very rarely cloes the translator interpolate a phrase of his own to make out his line, but in one place where he does it,"Activ., Scène i., he is unfortunate, for he makes Timon, who lived before saints were known among men, exclaim "par St. George." We quote" a passage from Timon's parley with Alcibiades, in the Fourth Act, as a spécimen of his style. Our readers can compare it with the English text, and they will observe that what is chiefly sacriHced is Shakespeare's terseness.
Alcibiade. — Quel es-tu ? Dis-moi, toi ?
Timon. — Moi, dis-tu, qui je suis ?
Une bête sauvage, et point de tes amis,
Que te ronge le cœur une affreuse vipère,
Pour de l'homme venir m' offrir un exemplaire.
Alcibiade. — Dis moi ! quel est ton nom ? Pourquoi tous
ces mépris Pour l'homme, alors que toi — toi-même tu ne puis Ne pas être homme enfin !
Timon. — Je suis le misantrope, Je hais le genre humain, je ne suis philantrope ! Pour toi, je voudrais que tu fusses un chien, Pourrais un peu t'aimer, ça me ferait du bien ! Alcibiade. — Oh ! je te reconnais ! Tes malheurs les ignore Je les ignore tous.
Timon.— Ignore les encore !
Je te connais aussi. moi, — je te connais bien, Et cela me surfit — je ne désire en rien
De tes gestes et faits connaître davantage ; Suis tes tambours,. suis les, en avant ton courage ! De sang rougis la terre, et nom d'un chien ! les lois Toutes cruelles sont faites" de feux grégeois ! Après cela, mon Dieu ! que doit être la guerre ! Cette femme élastique, et très belle naguère, Qu'avec toi tu conduis, nargue de la douceur De ses célestes yeux, doit porter le malheur Et la destruction bien plus que ton épée !
The Chevalier, though the author and translator of 53 volumes, does not yet seem to be case-hardened to adverse criticism, and though he has been 40 years in England has not learned that the public look upon the author's complaint, whether just or unjust, much as they do the protests of a schoolboy who has had a whipping. Having fallen foui of the Academy, he uses very strong language respecting it, publishes a picture of a man on a gallows as how the editor ought to be, and as an excruciating joke gives to the letters of the postal district, W.C. (in which the office of the Academy is situât ed), the meaning they hâve in plans and spécifications. This sort of thing will not hurt the Academy any more than it will trouble Mr. Gladstone that he is " un fou " for dissolving Parliament when he did, but it will make the Chevalier laughed at by the public, and we advise him to go on with the translation of the Winter's Taie, which he has in hand, without indulging in such outbursts. — Bath Express, County Herald and North Wilts Guardian, 2 May, 1874.
— The Chevalier de Châtelain, in a révèrent affection for our great English dramatist, has transcribed some of his works in French verse with intelligence and ability. " Timon of Athens," which is the subject of his présent publication, is cleverly rendered, and will be the means of making Frenchmen better acquainted than they hâve been with Shakespeare's grandeur and beauty. — The News ofthe World, Srd May, 1874.
Tnere is much merit in this translation ; it has been made with great care, and in many places the Chevalier
has shown a profound knowledge of Shakespeare's meaning, but still the tyranny of French rhyme forces in many cases innovations, and in others drops allusions that detract from the full force of the diction. Why blank verse should not be permitted in the French language, we must leave the savants to say, but we think the Chevalier would hâve more fully rendered the force of the original if he had been permitted to leave out his rhymes. Timon of Athens is not a popular play ; the prodigality of Timon, his blindness to the flattery of those who lived and prospered on his bounties, his ruin, and his subséquent misanthropy and hatred of his fellow-men, stand out in bold and unlovable ruggedness, whilst the only character that elicits our esteem is Flavius. The translator follows in good outline the various shades of the incidents and metaphors, but some omissions of repartee occur, which, however, do not mar the gênerai subject, but leave the translation less perfect in conséquence. The great merit of Shakespeare is the beauty and fruition of his imagery. His plots march on with majestic strides, but a profusion of beauties springs up at every step, and a translator, to give the fulness of thèse, would hâve to be equal to the original. The following examples will give our meaning more fully. Timon, in the full enjoyment of his flattery and friends, although a ruined man, but unconscious of it, his faithful Flavius trying to stem the torrent of disaster and unable to gain the attention of his master, who will see nothing but beneficence, has finished his feast and ail hâve departed except cynic Apemantus. Timon will not listen to him because he rails at his company, when Apemantus retorts : —
So
Thou'lt not hear me now — Thou shall not then, 111 lock Thy heaven from thee. Oh that men's ears should be To counsel deaf, but not to flattery.
The translator renders this as follows : —
Apemantus.
Oh ! de par Jupiter !
Il est sourd celui-là qui ne veut pas entendre ! Tu ne m'entendras plus, je n'ai l'âme si tendre Que je puisse me faire auprès de toi Timon, Un flatteur !.. Oh ! jamais !.. Oh ! jamais ! . . Non ! Non ! Non. (17 sort.)
After Aleibiades, Phrynia, and Tymandra hâve left Timon in the woods and he has given them gold, Timon begins to dig for roots, and says i —
That nature being sick of man's unkindness
Should yet be hungry ! — Corne, mother, thou (digging),
Whose womb immeasurable and infinité breast
Teems and feeds ail ; whose self-same mettle
Whereof the proud child, arrogant man is pufi'd,
Engenders the black toad and adder blue,
The gilded newt and eyeless venom'd worm
With ail the abhorrèd births below crisp heaven
Whereon Hyperion's quick'ning fire doth shine,
Yield him, who ail thy human sons doth hâte,
From f orth thy plenteous bosom one poor root ;
Ensear thy fertile and conceptious womb,
Let it no more bring out ungrateful man !
Go great with tigers, dragons, wolves, and bears,
Teem with new monsters, whom thy upward face
Hath to the marble mansion ail above
Never presented ! — Oh ! a root— Dear thanks !
Dry up thy marrows, vines, and plough-torn leas ;
Whereof ungrateful man, with liquorish draughts
And morsels unctuous greases his pure mind,
That from it ail considération slips !
The following is the translation : — Timon (seul).
Nature ! se peut-il que devant l'homme ingrat Tu sois prodigue encor d'or à si haut carat ?
( II oêclie.) Mère commune, ô toi, dont la verve féconde Soutient et nourrit tout de par ce vaste monde, Toi qui donne naissance à l'être le plus vain, A l'homme, et puis encore aux bêtes à venin, Au crapaud, au lézard, à- l'ignoble vipère, Au serpent venimeux, au tigre, à la panthère,
A des monstres sans nom, et tout gorgés de fiel, Et qui vivent pourtant sous la voûte du ciel, Ouvre à Timon ton sein libéral et fertile, Une pauvre racine à Timon est utile, Après referme-le, puis de dragons et d'ours, Va repeuple le sol, et cela tous les jours. Oh ! je ne veux de toi qu'une pauvre racine, Que je la doive encore à ta bonté divine ; Et puis récrépis-toi, puis taris tes ruisseaux, Dessèche les sillons, et flétris les rameaux, Jette à l'homme effaré toutes les épouvantes, Détruis, anéantis partout le suc des plantes, L'homme est un vil ingrat, il ne mérite pas Les dons de la nature offerts à ses repas, C'est par trop d'embonpoint que sa raison s'égare, Et dans la volupté qu'il redevient barbare !
In the tierce dialogue betwixt Timon and Apemantus in • the woods, the translator shows us the difriculties that beset the translation. Take, for instance, the following :
Timon,
Would thou wert clean enough to spit upon.
Apemantus.
A plague on thee, thou art too bad to curse.
Timon.
Ail villains that do stand by thee are pure.
Apemantus.
There is no leprosy but what thou speak'st. Timon.
If I name thee — M beat thee — but I should infect my hands.
Apemantus.
I would my tongue could rot them ofï.
Thèse sentences are translated thus : —
Timon.
Te cracherais au nez si, pouvais trouver où Proprement remiser sur ton' nez ma salive.
Apemantus.
Foin de tous tes propos, foin de ton invective ! Tu ne vaux vraiment pas ma malédiction.
Timon.
Près de toi, les gredins ont de l'attraction.
Apemantus.
Pareille à ton langage, il n'est aucune peste !
Timon.
Vilain chien.! chien hargneux ! je te battrais malpeste ! Si je ne craignais trop de me salir les mains !
Apemantus.
Si ma langue pouvait par des propos soudains Te les brancher tes mains, je crèverais de joie.
The foregoing instances are fair examples of the force and exactitude of the translation, and whilst giving due praise to the talented manner in which it is done, we must say that Shakspeare, to be thoroughly understood and appreciated, must be read in the language in which he wrote. — The Bradford Observer, Saturday, 9 May, 1874.
The Chevalier de Châtelain, pursuing steadily his task of translating into French verse ail the master-pieces of 3hakspere, publishes appropriately and gracefully his aew translation upon the poet's birthday. His rendering of Timon d'Athènes is as terse, correct, and vigorous as any of its predecessors We wish the vétéran poet time to complète this important task. — The Sunday Times, 17 ^lay, 1874.
The wondrous individuality of Shakespeare's plays présents, no doubt, immense attractiveness to the versatile and well-nigh inimitable powers of the Chevalier de Châtelain. Of " Timon of Athens," Dr. Johnson saysr " In the plan there is not much art, but the incidents are natural, and the characters various and exact." A very safe remark certes. The élément of sublimity is certainly
not conspicuous. The dramatic incidents are not striking, and the language of the sedater portions of the text, albeit beautiful, are less appealing than is the fact with most of his works. So that while there is less ornamentation to work upon there is perhaps less of what is called the genius of a language to reproduce. Not this much, however, by way of dérogation, from our estimable friend's success in the matter. Truly, he may say of himself, with the poet in the play : —
" My free dxift Halts not particularly, but moves itself In a wide sea of wax."
Will he smile if we abruptly hait hère in the quotation ? The spirit with which the Chevalier de Châtelain has approached his work will be gathered from this : —
" Et maintenant disons-le, nous avons traduit le ' Timon d'Athènes,' au mieux de notre pouvoir. C'est une étude que nous mettons sous les yeux de nos lecteurs ; une étude dont nous ne saurions recommander la lecture aux jeunes demoiselles.
' La mère en défendra la lecture à sa fille.'
" Encore avons-nous cru devoir adoucir— mais rarement supprimer — des expressions trop brutales ou trop cyniques, ainsi que nous sommes forcé de le faire dans notre traduction du ' Winter's Taie,' que nous écrivons en ce moment.
'• Le Shakespeare tel qu'il fut dans l'origine, n'est plus jouable sur la scène ... il s'adresse à l'homme de cabinet, aux gens lettrés de tous les pays, aux Français, aux Belges, aux Hollandais, principalement aux gens désireux de savoir quel fut ce Grand Génie . ... in naturalibus. A quoi servirait de souiller notre plume exprès à répercuter des immondices de langage, que le temps où vivait Shakespeare , autorisaient ! Nous craignons pourtant que quelques uns de nos lecteurs ne nous accusent encore d'être souvent resté , . . . trop fidèle au texte /"
By way of illustration see Timon's exécration of the Athenians (act iv., scène i.), and read the following: —
" 0 grand astre ! ô soleil ! de tous les biens le père Pompe avec volupté les vapeurs de la terre.
OPINIONS DE LA PRESSE. ïl5
Les impures vapeurs, portes-les à ta sœur,
Infecte l'air ô toi ! le grand désinf ecteur !
Sortis du même sein, et des mêmes mamelles
Deux beaux frères jumeaux, des Dieux les étincelles,
Ont tous les deux souvent bien contraires destins.
Le plus grand tient en haine, aussi dans ses dédains,
Le plus petit des deux. L'homme, c'est point blâmable,
S'il est riche et pourvu, méprise son semblable.
De ce vil mendiant, qu'on fasse un sénateur,
Il devient tout puissant, prélasse sa grandeur ;
Otez au sénateur son titre héréditaire,
Dans le mépris il traîne une ignoble misère !
De l'homme l'opulence est, c'est la vérité,
L'existence — et la mort est dans la pauvreté.
Quel homme osera dire, en bonne conscience,
Où l'ami s'annihile . . . . où le flatteur commence !
Ainsi qu'un vil troupeau se suivent les flatteurs ;
S'incline le savant devant l'or, les honneurs !
Tout est oblique et faux dans ce qu'on nomme l'homme,
Dans notre humanité le vice aura la pomme
Et toujours, et toujours et la perversité !
Oh ! maudite à jamais, soit la société. "Timon hait son semblable, et bien loin qu'il se prise, Il se hait à l'égal ; qui plus est se méprise ! Fi ! du vil genre humain ! que la destruction Eteigne à tout jamais, sus ! chaque nation. O terre ! cède-moi quelques viles racines .... (Il creuse la terre.)
Tu peux me les céder, ce ne sont des rapines l Et que l'homme qui veut de toi bien plus encor, Récolte du poison. Mais que vois- je ? .... De l'or ! Non ! Dieux ! non je ne veux de vous rien de semblable, Des racines, ô Dieux ! c'est assez pour ma table ! Non ! rien de superflu ! surtout, oh ! non point d'or! Je n'en veux plus du tout de ce métal butor, Car cette dose, hélas ! de poussière jaunâtre Peut embellir un monstre, — et peut noircir l'albâtre ! Annoblir la bassesse, et pour comble d'horreur, Innocenter le crime, et du front du vainqueur Arracher le laurier, et pour en ceindre un lâche, Qui traître à sa patrie a déserté sa tâche !
Il6 OPINIONS DE LA PRESSE.
Oh! pourquoi donc cela ? Pourquoi cela Grands Dieux,
Oui, cet or il peut faire, et c'est acte odieux,
Déserter vos autels et corrompre vos prêtres,
Il peut annihiler le culte des ancêtres î
Ce brillant, cet infâme et servile métal
Unit ou romp les nœuds ; son pouvoir est fatal,
Ce qui reste maudit, sus, il le sanctifie,
A son pouvoir bien fou soit celui qui se fie !
Il place le fripou auprès du sénateur,
Lui donne la noblesse et lui donne l'honneur !
Lui seul sèche les pleurs de la nouvelle veuve,
Et lui fait désirer encore maison neuve.
L'infâme créature en son afjretyx chenil
Il l'embaume à nouveau, lui recrée un avril !
Idole ! pour t' avoir chacun se prostitue,
Chacun t'adore comme arrivant de la nue,
Moi, de suite je veux te rendre à ton néant,
Je t'enterre à nouveau, vil métal, malfaisant !"
After this we feel we need only say of it, with the painter in the play : —
"'Tis a good pièce."
The Chevalier de Châtelain faithfully adhères to his quaint arrangement of Avant Propos, pour le moment Avant Tout propos, Introduction, Translation, Opinions of the Press, and what ladies so much love (and indeed so do we, for it often promises us something to hope for) — "the last word." In thèse and the footnotes our friend finds ample scope for his "Ira furor," which, most decidedly, cannot be said to be " brevis est." That he makes out a case for it is certainly unquestionable. Ail we can say is he can well afford to live down his detractors, The work he has just given us is undoubtedly another shirt of steel to guard the joints of his harness, which his promised " Winter's Taie" will doubtless still further prove. When next we célébrât e our immortal poet's natal day, may our haie and hearty friend of seventy-three summers be in our midst. — The Stratfordupon-Avon Chronicle, May 22, 1874.
Once more we hâve an apology to offer to the author for an unavoidable delay in noticing the work he ha s sent to us, and the cause of such delay will, we are sure, be évident to the Chevalier if he has noticed the pressure on our space during the last month. The présent translation, like those which hâve already been noticed in thèse columns, shows great versatility and talent, and though, as has before been said, the difficulty of rendering Shakespeare1 s verse into French rhyme is most formidable, M. de Châtelain has performed the task with much ability and in a spirit which shows how he admires the great English dramatist, and how anxious he has been to reproduce as far as possible his meaning and his words. We quote a portion of Timon's soliloquy at the commencement of the fourth act : —
Que je vous voye encore, impitoyables mûrs, Tous ces loups dévorants, tous ces esprits obscurs Qui les ceinturonnez dans votre abjecte enceinte ; Sous terre, abimez-vous, ne laissez votre empreinte, Et qu'Athène ait vécu. Des vieux temps, chasteté Chez les mères, fais place à la lubricité. Dans le cœur des enfants, péris, obéissance ; Vous esclaves, vous fous, remplacez et d'urgence, , Nos graves sénateurs, à leur place jugez ; Vierges à l'état pur, forniquez, forniquez, Forniquez à cœur joie, oui, commettez le crime Sous l'œil de vos parents, et roulez à l'abîme ! Banqueroutiers ! ô vous ne lâchez pas la main, Agrippez, agrippez tout le bien du prochain, Ne rendez pas l'argent, nul de vous ne dégorge! Mais de vos créanciers, sus ! coupez-moi la gorge. Volez avec adresse, ô vous tous serviteurs ! Vos maîtres, par les lois, ne sont que des voleurs ! Jeune esclave, va-t-en, dans le lit de ton maître, Et cela, sans pudeur, ta maîtresse, un vil être, Se prostitue ailleurs. Jeune fils de seize ans, Arrache à ton vieux père, à ses pas chancelants, Sa béquille, et soudain, va, ne sois pas timide, Brise sa tête chauve, et deviens parricide ! Crainte, respect et paix, justice, amour des Dieux, Subordination, sentiments généreux,
Il8 OPINIONS DE LA PRESSE.
Education, mœurs, religion sublime, Commerce social qu'on prise et qu'on estime, Usages, bienséance, et vous divines lois De stricte probité, sus ! tombez à la fois ! Kentrez sus ! au néant ! et que messieurs les vices, Et la vile débauche, avec ses immondices, A flots pleuvent sur toi ! Que la confusion Soit le règne partout, et sans exception. Vous tyrans des mortels, cruelles maladies ! Sur Athènes laissez tomber vos perfidies ! Pour la ruine mûre, il vous faut la frapper, La friper, la sapper, l'écloper, l'écharper ! Sur leurs vieux os pourris, toi, froide sciatique, Parmi nos sénateurs et leur infâme clique, Glisse-toi, sans vergogne, et que ces vicieux Images de leurs mœurs, deviennent laids, hideux. Empoigne-moi les cœurs, toi, débauche effrénée, Et souille la jeunesse avant que d'être née, Qu'elle puisse lutter, toujours avec succès Et contre les vertus, et contre leurs bienfaits, Pour s'abîmer enfin dans le gouffre des vices, Au sein des voluptés et de leurs artifices.
(The Poole and South Western Herald, June Mh, 1874.^
The Chevalier de Châtelain is unquestioriably one of the hardest literary workers of the présent times, and when it is remembered that he lias entered upon his 72nd year, it cannot but appear extraordinary that he should continuously — we might say incessantly — be bringing out fresh proofs of his talents, and of his unweariness. We hâve in this example of his persévérance, another excellent translation of Shakespeare into French verse, which, although the choice of the play itself is less fortunate than usual — its authorship having been by most scholars repudiated — is as admirably rendered as are ail the others, to which we hâve, from time to time, called attention. The versification runs as smoothly as the original text, and gives the idiom with so much accuracy, that it can but be considered a marvel that one whose native language is so différent to our. own, should
have acliieved such unquaMed success. The Chevalier will do well to rely upon the exposition of those unequivocal talents, of which he is undoubtedly very largely possessed, without attacking writers and journals, by whom he is not only not appreciated, but not even understood. However trenchant his remarks may be upon a somewhat unworthy System of criticism, to which he is incessantly exposed, it can be of no advantage to himself to " lay on and spare not," since those who corne under his lash will only avail themselves of the opportunity to adopt further means of annoying and provoking him. If we could have our will we would expunge from this volume every word that the author has written irrespectively of his immédiate object. — BelVs WeeMy Messenger, June 20, 1874.
Lamartine en 1848. Poème traduit de l'anglais de Ch. W. Kent, by the Chevalier de Châtelain. 30 pp. (Rolandi) London.
Amongst other volumes forwarded us for review are included four works by the same gifted author : a French translation, " Timon d'Athènes " ; "Le Monument d'un Français à Shakespeare"; "Les Noces de la Lune"; and also the above-named work, which is specially selected for the présent purpose, inasmuch as the celebrated personage it refers to — like other grand poets — was also, in the time, associated with the local surroundings of the azuré Léman. To the souvenir of the French poet, generally, will ever attach those works, whose inception was due to his sojourn in Switzerland ; notably the "Méditations du Lac, du Vallon."
A kind of halo ! a seeming nimbus of moral and intellectual radiance, of personal worth, appear to gild the name and memory of Alphonse de Lamartine. Whether regarded as the gentle-minded poet or the unwilling ruler, thrust into sudden political prominence and power, by the sheer force of circumstances, the man, himself, remains as a brilliant example of human nature. The
foreigu observer, even before the mass of his own coun trymen, will best recognise in Lamartine, the true patriot and real hero — of the barricades of '48. Elected to suprême power at that stormy period, his efforts to check, subdue and guide aright the blinded passions of the Parisians— roused to frenzy by the previously attempted encroachments of the Gruizot ministry on individual liberty — in the first excitements of success, and of the overthrow of the dynasty, are matters of history. How far Lamartine succéeded, personally, in lulling the hurricane of revolt and bringing back the temporary calm and tranquillity by which more ambitious and less scrupulous successors subsequently profited, is also written down ; but the influence of the poet-politician was more durable, and left its mark even upon the rough and furious éléments that he had to contend with, and finally, nôt ingloriously, to yield to and retire before, like another classic prototype of the old Roman day.
What more brilliant passage in the record of his rule, than on the mémorable occasion of the red flag being presented him as the future ensign of France and as the token of her then newly-acquired rights. Despite a natural timidity of disposition, he boldly, and in the teeth of angry menaces, and unawed by the bristling steel, uplifted amidst the violent mob, rejected the sanguinary blazon, and according to the sensé of the English dedication (which we hâve not to hand,) admirably rendered, however, by the Chevalier ; he is reported to say : —
"Le drapeau tricolor a su nous protéger,
H a fait noblement deux fois le tour du monde,
Dotant le nom français de gloire sans seconde ! "
The appeal, the undaunted bearing of the speaker dominated ; the speech and sentiment prevailed over the threats and pointed weapons, and the rainbow standard — of hope — was preserved to France. " Arma cedunt togse " !
Although wanting the English original of Mr. Charles W. Kent, the réputation of our native writer is well-
enough known to enable us to form the most favorable estimate of the original work and on which the Chevalier has founded this very interesting translation. The English verse cannot hâve suffered in the change, but rather hâve become enhanced, in the added reflection imparted to its thought and inspiration by the able rendering it is certain to hâve received. What Lamartine, himself, considered of the tribute offered by his English confrère in song to his deeds and character may best be summed up in the following extract from a letter of thanks advdressedto Mr. Charles W. Kent, dated April 7, 1853, and which is to be found in the préface of the work, whose notice we now close :
"Aucun tableau des événements de 1848 ne me place en scène devant la postérité avec plus de faveur et sous un jour plus resplendissant."
Alphonse de Lamartine.
(The Geneva Cross, 25 Novembre, 1874.)
