NOS TRADUCTIONS DE SHAKESPEARE

1862. Macbeth. (L'édition est aujourd'hui épuisée.)

1864. Hamlet.

1866. julius césar.

1868. La Tempête.

Ces quatre ouvrages sont publiés par Rolandi, 20, Bemers Street, W. Prix is. chaque.

1868. Shakespearean Gems.

Publié par Tegg, 12, Paneras Lane, E. C. i vol. de 468 pages. Prix 3s, 6d.

Les opinions de la presse formulées sur nos différents ouvrages tant en Amérique, en Angleterre, en France, qu'en Belgique, ne nous laissent qu'un sentiment au cœur, celui de la gratitude; disons-le nous n'avons trouvé à Londres qu'un très petit nombre de roquets — tels que le Moming Star et le Leader^ qui ont jappé contre nous, et ont cherché à nous mordre, mais qui n'ont pas réussi, heureusement pour nous, car nous eussions été obligé de faire cautériser la plaie ; nous avons aussi été en but aux criailleries de cette fille publique, yclept Public Opinion — Mais les harpies ne peuvent changer leur nature, elles sont haipies et mourront harpies ! qu'elles restent harpies ! . . .

Quant aux journaux qui prétendent qu'on ne doit pas

traduire Shakespeare en Français, François Victor

Hugo s'est chargé de leur répondre pour nous qu'ils sont des sûfs — en quatre lettres cette fois ! Si des livres français et allemands n'eussent été traduits en anglais, la littérature anglaise tiendrait-il le haut rang quelle tient ? L'Angleterre ne traduit-elle pas tous les jours les œuvres de Victor Hugo ?

MACBETH. Tragédie de Shakespeare.

" It is a noble and heroic enterprise, in its way, this daring foray of an accomplished Frenchman beyond the borderland of English poetiy — ^in that awful realm o[ tragedy, in which the genius of Shakespeare moves with a power as sublime as that of ^schylus, and as pathetic as that of Sophocles. ' Macbeth ' is, perhaps, the most potent test that could be applied to the capacity of any French scholar as a translator of the dramas of Shakespeare. It is a test in that way — the experimmtum crucis — ^what that early problem of Euclid, so dreaded by the dunce, is to the aspiring student in mathematics. Once past that Rubicon in safety, and the région of conquest spreads forth comparatively smooth and fair before the adventurous translator. Upon the manner in which the Chevalier de Châtelain has traversed this perilous pass we may very reasonably offer him what we hereby freely do venture to offer him, our eamest and cordial félicitations. The work undertaken hère in thèse five marvellous acts of the Shakespearian tragedy of ' Macbeth ' is such that we commend the artist labourer to persévère in the same grand direction in which he is already so far advanced — not to rest contented with the dignity of being translator of ' Macbeth,' but daringly to aspire to the greater glory yet of being the translator of Shakespeare." — Jlu SuHj yune 4, 1862.

" Seldom, if ever, has the art of translation reached a higher point, been accomplished with more élégance and fidelity, or more happily succeeded in preserving the interest and merits of the original, than in the hands of the

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Chevalier de Châtelain. We hâve had, at various times, the pleastire of drawing attention to several of the productions of this channing writer. Amongst others, his translation of Chaucer's 'Canterbury Taies' (which should be possessed by every admirer of the great poet), and also that of the ' Monks of Kilcrea/ a less prétentions effort, but in our opinion incomparably the most exquisite of his translations, in which the nobleness, the grâce, and the pathos of the French rendering more than equals the beauty of the very channing original. In the work bêfore us, however, the Chevalier de Châtelain has undertaken a more diffieult task.

" Macbeth is, he says, ' la seule Tragédie de Shakespeare entièrement jouable devant un public Français.' Two reasons, he adds, hâve led him to attempt its translation. First, to render the représentation of it possible on the French stage. SeconcÛy, to render it accessible to Frenchmen who cannot read English. M. de Châtelain has succeeded in both his purposes. He has produced a translation which must make ' Macbeth ' not only possible, but appréciable on the French stage, and which, if adopted, will go far to popularise our great dramatist in France. The same may be said of ît, as introducing this noble tragedy to those of his countrymen who do not know English. For those who do know English, it is perhaps impossible for any French translation of Shakespeare to be thoroughly satîsfactory. We take, at random, the scène which announces to Macduff the massacre of his family, and Malcolm's attempted consolation : —

" Those slight extracts may serve to show at once how well M. de Châtelain has performed his task, and how diffieult a task it is. The translation is not from the old éditions, but from Mr. T. H. Lac/s, the translator being désirons of giving the play as it was performed at the Princess's under Mr. Charles Kean. It is written in the Chevalier's own peculiar style, a style so différent from the ordinary modem *Parisian' French, and for some

reason so peculiarly channing to the English reader. M. de Chatelaîn's French is terser, stronger, and richer than that of other modem French writers. It is classical in brevity, and at the same time he does not scniple to avail himself of obsolète words, or to coin new expressions. We fully enter into his own defence of himself on this head.

" * Bien fou,' says he, with charming indignation, * serait l'auteur qui s'imposerait la tâche ingrate de n'employer que les seuls mots qui se trouvent au dictionnaire de l'Académie.'

" We sincerely wish M. de Châtelain ail the popularity which he so richly deserves at the hands of Engliàimen." — The Era^ June 22, 1862.

The rendering throughout conveys, as nearly as possible, the meaning of the original. The language is carefully chosen, and the translation, as a whole, beautifîil ; showing the translator, beyond having merely appreciated the beauty of the pièce he has reproduced, to hâve entered thoroughly into the spirit of it." — The Aberdccn Fret Press y May 20, 1864.

" One of the most graceful compliments to the memory of our national bard has been paid by the Chevalier de Châtelain, who has ably — and everything he does is ably done — translated into French verse tiie tragédies of ' Macbeth ' and * Hamlet.' It is astonishing how well and cleverly the Chevalier has preserved the spirit of Shakespeare in his translation into so différent a language from that in which he wrote, but he has a marvellous power of grasping the thoughts and entering into the feelings of his auâior, and of conveying those thoughts and feelings to his readers, though in a différent form and words." — Reliquaryfor April, 1864.

HAMLET. Tragédie de Shakespeare.

" Il nobile traduttore, il Sig. Cav. de Châtelain dà con questa traduzion un nuovo saggio del modo accurato con

cui sa svolgere le opère altrui, egli autore di parecchie opère origînali che gli diedero fama di distinto litterato e poeta." — La SceruZy TrUsiCy Novembre 12, 1863.

" This ' last,' but not ' least ' effort of the Chevalier de Châtelain in the difiicult art of translation is, perhaps, one of his very best The play of * Hamlet/ so brimfiil of philosophical reflections and subtle disquisitions, seems on the face of it to présent far more formidable obstacles to contend with than the more dramatic 'Macbeth* for instance. Yet so intensely has the Chevalier identified himself with the spirit of the original, that, in spite of the drawback of having to translate blank verse into rhyme, the text has been so closely * photographed,' that we can recommend this translation of ' Hamlet ' as an excellent class-book; for, as an Oxford scholar observed in our hearing, the pupil who would attempt to construe the French version into English, would find himself involuntarily making use of Shakespeare's very words. We believe the pièce is to be played in Paris where, in spite of Ducis and Dumas, a real translation of 'Hamlet' has never yet been witnessed." — Reynolds s Nernspaper^ Nov, 22, 1863.

" Our hopes in regard to the Chevalier de Châtelain as a translator of Shakespeare into the French language are being realized. His first daring adventure in that direction, it may be remembered, was ' Macbeth.* His next, the présent one — a venture still more daring of its kind — has been * Hamlet.' Has been — ^for the work is hère before us accomplished ! Upon its accomplishment we would at once oflfer to the Chevalier our cordial félicitations. And they are, indeed, deserved. For we take the production of a successful version of a wondrous masterpiece such as * Hamlet * into French to be équivalent, as an intellectual achievement, to the production of an original work of very considérable importance." — TheSuriy Nov. 27, 1863.

'' Comprehensive, accurate, and successful as the Chevalier de Chatelain's translations of English poetry înto that of his own country hâve invariably been, this version of * Hamlet ' is unquestionably his chef-d* œuvre, Oi ail the plays of our immortal bard, this îndeed presented the most immense difficuldes to be so rendered as to lose nothing of the original force and the inner purpose of the composition. Yet the Chevalier has so mastered every difficulty that, did we not know the contrary, we might almost believe the tragedy to hâve been origînally written in French." — BeWs WeMy Messenger^ Nav. 28,

" Chevalier de Châtelain pajrs the English people a high compliment by this translation of the much-admîred tragedy of * Hamlet,' and there can be no question that such Works as that before us hâve a direct tendency to make the manners and the constitution of the English people better understood in France, and so cause them to be there better appreciated." — Cambridge Chronicic, Dec, 5, 1863.

" Compared with the acting version of ' Hamlet,' made by Alexander Dumas and Paul Meurice, indeed, this version may be praised for being in parts much doser to the original boâi in letter and spirit" — The Orchestra^ Dec. 16, 1863.

" . . . It was reserved for the Chevalier de Châtelain to exécute the work in a style to draw from the veiy idolators of the ' Bard of Avon ' the confession that no more perfect transference of his style and meaning into the French language could possibly be accomplished. The Chevalier is in truth a genius who has fewcompeers, and who is an honour to his native land." — The Nation^ Dublin^ Dec. 19, 1863.

" To every French student the name of the Chevalier de Châtelain is no stranger. Author of several original works of raie merit, he is also the translator of some of the finest

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Works in our language. Few but know howfaithiully and how well he bas rendered * Dear Old Chaucer.* The clever translator of Victor Hugo's great work ' Les Misérables/ called it in his préface * no child's play * to do that, and we think no one will be disposed to deny that, although not 80 bulky as that work, * Hamlet ' may fairly corne within that observation. Let the carefiil reader of this masterpiece of our great poet, who has also the advantage of a compétent knowledge of French, pictiu*e to himself what formidable difficulties such an undertaking présents, and he will realize the truth of what we say. It is not often we care to notice an introduction, especially such lengthy ones as French writers usually prefix to their works, but we cannot pass over in this the sharp and merited chastisement the Chevalier inflicts on those who hâve mutilated the text of the * great master ' to serve their own purposes : offenders notably in this matter Ducis of the last century, and Dumas and Meurice of the présent, dashing ofF the daring incongruities of their style with no sparing hand. Dr. Conoll/s book receives also a pointed comment, and the * Saturday Review ' a smart rap. When we take into account the obtuseness of the French language, if we may be pardoned the expression, with regard to its capacity for rendering the subtleties and elegancies of Shakespeare, it is really wonderful how close he gets to the original. The Germans boast that of ail languages theirs is the most adapted for reproducing the Bard's brilliant imagery, and their best scholars do not hesitate to acknowledge how difficult is the work. We hâve not had the advantage of comparing this translation with the text adopted by the translator, but it is évident, on a mère perusal, that it will take a high rank amongst literary productions of this nature. What a boon to his corn* patriots is hère given ; the opportunity of appreciating what could never hâve fallen to the lot of many of them from their ignorance of the English language, had not the Chevalier undertaken this * labour of love.' " — Tlu Stratford-on-Avon Chranide.

Dans un intervalle lucide, Public Opinion^ qui

DEPUIS CELA NOUS A TRAITÉ DE TURC 1 MaURE, NOUS A GRATIFÉ DE CES LIGNES :

"Considering that finding équivalents in French for Shakespearean expressions is almost impossible, and that ail attempts at translating Shakespeare into French hâve hitherto been almost ludicrous failures, the présent work is exceedingly creditable, and will be very valuable to the large class of Frenchmen who are ignorant of English." — Public Opinion^ y<tn' 9, 1864.

JULIUS CÉSAR. Tragédie de Shakespeare.

" We hâve no hésitation in saying that any Frenchmau being ignorant of the English authorship of Julius Caesar, would in reading this version believe tiie author to hâve been a countrymen of his own, so perfectly has the idiom been expressed, and so thoroughly has the force of the language been retained. Excellent as were the translations by the same gentleman of ' Hamlet ' and * Macbeth,* we are inclined to think that this of * Julius César ' is even a greater success." — BelVs Weekly MessengtTy yunc 30, 1866.

" This is the third of Shakespeare's plays which the Chevalier has translated into the French language, and his countrymen hâve reason to be thankful, and EngUshmen to be proud, that the immortal bard has found so able, so thorough, and so poetical a translator. For the firsi time the educated Frenchman is enabled to read Shakespeare in his own language, and with ail the correctness, vigour and spirit of the original. The success which attended the Chevalier de Châtelaines translations of ' Macbeth ' and ' Hamlet/ though auguring favourably for the progress of his important and responsible task, by no means led us to expect such a triumph over the difficulties and idioms of our language, as displayed in the masterly performance before us, and * Julius Csesar * will henceforth stand as one of the brightest examples of this

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gîfted gentleman's persévérance and talent as a translater of the most difficult works in the En^ish language^ — The Era^ yuly i, 1866.

" . . . It affords an additional instance of M. de Châtelaines success in preserving the spûit of the original, in a manner which no other French translater of our English authors has been able to achieve. This will be a most acceptable addition to the previous publications of the translations by the same writer of 'Macbeth' and ' Hamlet/ the merits of which hâve been duly recognized by the literary world." — The Observer^ yuly i, 1866.

" Le Chevalier de Châtelain, as a facile verse writer and an excellent translater of the best pièces of our best poets into French verse is well approved. The Chevalier has a scathing scom for the Historian of * Jules César,' and dedicates his translation of the immortal work of the Bard of Avon to his * compatriots ' in * the year of disgrâce 1866.* In *a few words to the reader,' M. de Châtelain makes a good case against the cynical Voltaire, who parodied, plagiarised, and abused Shakespeare, and accordingly places him in a literary pillory, whence it would be a hard task to take him down ; on the other hand he pays a graceful tribute to the memory of Father Prout (Francis Mahony), as a translater from Greek, Latin, French, as well as every modem language of Europe. Of the Chevalier's translation we can say the spirit and closeness are remarkable in every speech. Ease, spirit, and fidelity characterize his version of the greatest dramatic writer of our own or of any other country ; and the tact and talent which are hère displayed find a counterpart in his translations of ' Macbeth ' and * Hamlet,' wherein the best translators, Alexandre Dumas and Paul Meurice, suffer by comparison." — The Moming Advertiser, yuly 3, 1866.

"The interest of Shakespeare's ' Julius Csssar' is twefold — ^histerical and political ; and the former obvieusly prédominâtes. For this reason a translation into French

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is more successful than if the beauty of the work had consisted merely in its poetry. M. de Châtelain, as we hâve more than once had occasion to remark, is an exceedingly fair translator. He likes England and the Engiish language; and, more than almost any other foreigner that we could name, is just to our great authors. Perhaps we ought hardly to call M. de Châtelain a foreigner at ail, since he is a naturalised £nglishman, and thoug^ bom in France has passed much more of his time hère than in that country. In this way he has rendered himself an excellent interpréter of Englishmen to foreign nations, for he possesses a large and varied acquaintance with our modes of thinking, and generally finds good équivalents for our most remarkable phrases. In the présent work we would indicate two points by which the reader may judge of M. de Chatelain's qualifications as a translator : first, Marc Antony's speech over the dead body of Oesar ; and second, the tent scène between Brutus and Cassius. The former, it will be confessed, was a task of no slight difficulty, the speech being one of the finest things in the Engiish language, in which the echoes of Roman manneis ring through our old heroic phraseology without losing much of the character borrowed from the vicinity of the Seven Hills. In his conception of Antony, Shakespeare is historically truer than in his conception of Csesar, which is somewhat over-wrought. Among his contemporaries, Caesar was doubtless the chief man; but Shakespeare nearly always speaks of him as if he had been the greatest of mankind, which he was not However, the point for M. de Châtelain was to do justice to his original, to make Antony speak as Shakespeare makes him speak, and in the language of France, to naturalize those idioms of thought, if we may say so, with which Shakespeare has enriched our literature. This he has very ably done In the quarrel between Brutus and Cassius he has been little less successful than in the rendering of Anton/s oration ; and on the whole he has acquitted himself of

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his difficult task in a way which refiects much crédit on his taste and judgment

"M. de Châtelaines version is at once faithful and vigorous." — TheLondon Review^ 3^^fy 7> 1866.

" When Voltaire, whose wit was not above the aid of falsehood whenever falsehood could point an epigram, ridiculed blank verse as costing but the trouble of dictation, and called Shakespeare's blank verse ' a thing absurd, unreadable, unhearable, inadmissible to the ear/ he ventilated an assertion which has lost ail weight with his countrymen of the présent day. Thanks to the international spread of literature and to the decay of egotism in nations, brought about by the influence of peace and commerce, an appréciation of Shakespeare is not confined to the land which gave him birth. Schiller and the Schlegels hâve introduced him into Germany, where the ductibility of a grand old language has re-moulded the poet's expression with a ôdelity rare in translation. Italy knows him well. The tongue from which he stole so much capital receives the riches back with usury ; as the pebble which falls into the shell is smoothed and modelled into a pearl. Into France his sayings hâve penetrated, and the French esteem him highly, although we do make fun of them for calling him *the divine Williams,' a charge which is more ludicrous than true. The best proof of Shakespeare's popularity among our neighbours is in the fact that three Parisian théâtres hâve lately been acting him simultaneously. Voltaire said many veradous things and still more brilliant things; but his dictum about the ' vers qui ne coûtent que la peine de les dicter* has received a complète re version in the thousands of Frenchmen who understand and love Shakespeare.

" Nevertheless there are enough of Voltaire's countrymen who only know Shakespeare traditionally and through imperfect translations to make us grateful to the Chevalier de Châtelain for the pains he has been at in his présent work. M. de Châtelain is by his own confession 'a passionate admirer of Shakespeare,' and has proved his

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admiration on several occasions, though on none more successfully than by his présent work. He is not only an admirer — he is an intelligent student of the pœt, with whom he has ail a poet's sympathy. Art is cathoUc, and the labour of expounding its gospel among the gentiles is, with men like M. Hugo and M. de Châtelain, a labour of love. Thèse are the true brethren of the freemasonry of art, and to thèse the world is indebted for many a thesis, truth, spéculation, and discovery, which else would be confined to one nation or one school alone.

"In the work before us the translator has had the fundamental difficulty (almost an insurmountable one) of rendering English blank verse into French prosody. How hard this is, those who hâve wrestled with the exigencies of French mètre, with its masculine and féminine rhymes, best know. He who can so well catch the spirit of the original and imprison our English wild roving monosyllables and Ishmaelite interchanges of verbs and nouns in a cage of twelve feet, accomplishes a truly arduous feat English poetry is like an océan, French poetry like an artificial lake, embellished with fairy fountains and délicate omate grottoes. You may tum a portion of the sea into the bed of a pond, but you cannot préserve its roUing. Nevertheless you may préserve some of the oceanic attributes — ^for example its sait. And this is what M. de Châtelain has donc with * Julius Caesar.'

" He has taken an ample édition of the English play— not Lac/s acting édition, nor yet that emasculated version known as the Family Shakespeare — ^and stuck to it Une by Une, and text by text A poet himself, he has been faithful in poet worship, and has ' nothing extenuated-y nor set down aught in malice.* The masculine and féminine rhymes are there it is true, and the inévitable Alexandrines, but through ail this he sturdily préserves the original grain. Where Shakespeare is metrical he is metrical, where Skakespeare talks prose so does the ChevaUer. The Elizabethan fondness for punning bothers him cer-

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tainly, and one cannot joke upon 'sole' and 'soûl' in French as one can in English, — so a foot note has to explain the équivoque, just as a drawing-room Joe Miller has occasionally to elucidate his facetiousness for the benefit of some deaf dowager. Thèse difficulties apart, the translator is facile and correct, and no less éloquent and poetic We would point out the speeches of Brutus and Marc Antony as spécimens of his fidelity, were not thèse passages of such importance in the original as to induce the thought that perhaps M. de Châtelain has taken especial pains with them. As a fairer example, therefore, — fairer to the translator himself, as showing his prevailing care and scholarship, we take the speech of Caesar's commencing : —

' I could be well moved if I were as you.*

" Any one who chooses to compare the following with the original (Caesar's speech prior to his assassination), will gain a fair idea of the Chevalier de Châtelaines force and justness.

' Si je vous ressemblais, on pourrait me fléchir."

"The quarrel scène between Brutus and Cassius is rendered with masterly force. Indeed to multiply instances of the exactness with which the translation has been eflfected would be to fill our columns with extracts. We must content ourselves with recording the merits of * Julius CsBsar' in gênerai terms, and with this we forestal M. de Chatelain's countr3rmen's thanks, for the accuracy with which he has carried beyond the Channel, the poet whose diligent disciple he is." — The Orchestra^ July 7, 1866.

"No one among his countrymen has shown himself better qualified to translate the works of English poets into French than M. de Châtelain. Shakespeare severely tests the skill of a translator, but M. de Châtelain proves quite equal to the difficulties of the task imposed. As a poet in his own language, and a thorough proficient in

the English, endowed too, with highly cultivated talents, he has advantages that few possess, and he certainly uses theni with good effect

•* To begin at the beginning, we must not pass by the dedication. The writer says: — *A vous pauvres compatriotes de 1866, à vous plus enchaînés, plus muselées, plus misérables, plus esclaves que ne le furent jamais les Romains sous Jules César, à vous, je dédie ma traduction du Jules César du grand Shakespeare.' And M. de Châtelain goes on to allude to the Caesar of the 2nd of December, predicting his fall even as Charles X. and Louis Philippe fell, and as he wishes ail tyrants may Ml, who * avec Taide des hommes et de 500,000 baïonnettes inintelligentes rêvent encore en plein XIX*™ siècle Tesclavage des peuples et le retour impossible à la barbarie du moyen âge !'

" In his préface M. de Châtelain défends some points wherein his translation differs from the translation of Voltaire, and we think he is right. He cornes more closely to the original, and in attempting successfiilly to 'préserver la musique du vers de Shakespeare,' he has devoted himself to an object which is ail important in translating such a work.

" To the admirer of Shakespeare, English or French, as well as to the student of either language, this translation will be most valuable. M. de Châtelain has tned bis pen before on 'Hamlet' and * Macbeth * with consummate success, but in the présent instance he seems to hâve been inspired with a feeling arising out of the adaptation of the play to the condition of his countrymen and the modem Cassar, and it évinces a spirit and vigour accordingly. It is in ail respects an admirable work, and encoiuages us to hope tiiat the Chevalier will not stay his labours till he has given to France many more of the wonders of our great English poet" — TAe Court Circular^ yuiy 21, 1866.

" It reads fluently and strikes us as being doser and

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better than the Chevalier de Chatelain's previous French versions of the ' Poëte de 1* Avon.' **— ZAr Weekly Dispatch, yuly 22, 1866.

"The accomplished gentleman to whom this new French translation of Shakespeare's 'Julius Cssar/ is due, is not unknown by famé to our readers. Not only has it been our pleasure to review favourably sundry of his poetical publications, but we hâve printed some original compositions from his pen. He has remarkable facillty in executing poetical versions, as is well known, and we are, therefore, prepared to receive a favourablc impression from his rendering of * Julius Caesar.* The Chevalier is quite aware of the delicacy and difficulty of the work he has undertaken ; and we are glad to see that, in common with many of his countrymen, he has been drawn with admiration to Shakespeare. The Chevalier de Châtelain has done his work with characteristic grâce and skill."— ZAr Queen, July 28, 1866.

**This is the work of another of the contributors to our * Poet's Corner,* as will be seen by a spirited French trarslation in our présent issue, of the beautiful ReformatioE idyll 'Martin and Kate,* by Isa Craig, which we published last week The Chevalier de Châtelain is a French gentleman of high literary culture and noble aspirations. Though ordinarily résident in London, he is in the habit of periodically visiting Torquay, with whose charms he never fails to be in raptures. It is highly probable that some at least of our readers are already no strangers to his eminent literary merits, which are recognized very widely in the great world, not to speak of the faa that it is not now for the first time that he is introduced to our local public. From the Dedication prefixed to his présent admirable translation of Shakespeare's ' Julius Csesar ' — certainly one of the finest eflforts of our immortal dramatist — ^we should judge that the Chevalier has sufifered much for the cause of liberty in his native land. The work is înscribed * To my Compatriots the

French of the Year of Disgrâce 1866/ whom he sadljr addresses as being 'more enchained, more muzzlei, more misérable, and far worse enslaved than ever wax the Romans under Julius Caesar.* Deeply, however, as the iron of oppression has entered into his soûl, aod keenly as he feels the shame of seeing his glorious country crouching at the feet of so ignoble a tyrantas the modem ape of Csesar, he explicitly répudiâtes te doctrine of political assassination. It is rather the sprit of a Christian Brutus that he wishes to evoke, thaa a literal imitation of the great pagan, which in our âge would be but a poor anachronism. Let the French M as freemen and they will soon be free. It must not, h)wever, be imagined that the production before us ;s a political pamphlet. It is infinitely less so than the £iQperor's * Life of Caesar/ It is part of a gênerai schene undertaken by the author, whose perfect mastery of bcà tongues and fine poetical genius pre-eminently qualfy him for the task of familiarizing French readers Wtfa the best English poets, and especially with Shakespeat. He is thus a fellow-labourer with Victor Hugo and bis gifled son, whose joint work on the Swan of Avon, pblished in Paris about this time last year, produced a pofound sensation, and did so much towards disabuang the French mind of the silly préjudice against Shakespeare so artfully propagated by Voltaire. For Voltaire had his reasons for pouring ridicule on the Englsh bard from whom he stole so many of his finest thiiigs. For a fuU exposure of this unworthy literary stratagsm to which the heartless philosopher of Femey stooped, we may refer the reader to the remarks prefixed to ie présent translation of 'Julius Caesar.* The translation itself nobly fulfils the promise afforded by the Chevalins 'Macbeth' and 'Hamlet,* as well as by his complète version, in three volumes, of Chaucer's 'Canterbury Taies:"— Tke Torquay Urnes, Sept i, 1866.

" Dedicated to * his compatriots in the year of disgrâce 1 866,' M. de Châtelain, a most versatile and able translater

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of our tongue into French, published lately ' Julius Csesar, Tragédie de Shakespeare/ in excellent heroic couplets, wherein the spirit of the original has been marvellously preserved. The same gentleman is about to issue the * Tempest,' and his versions are so infinitely superior to those of . . . and Paul Meurice, or that airious * Hamlet* of Alexandre Dumas the elder, that it will be in the interest of both countries that the translation should be continued The rhyming couplets of Corneille and Racine seem strange fetters on the marvellously free fîow of Shakespeare's blank verse, so full of rhythm and melody ; but that we suppose is a necessity. M. de Châtelain always resorts to prose where it is found in the original, as in the speech of Brutus ; and a better way of leaming French thoroughly could hardly be suggested to the young than the line-by-line comparison of the poem and its translation. * Macbeth,' ' Hamlet,' and ' Julius Csesar ' hâve already been published. The * Tempest ' will follow during this month." — TAe IllustroUed London News, yan, 12, 1867.

"Hamlet" and "Julius CiESAR" by the Chevalier de Châtelain.

" The translations probably are as satisfactory as the skill of any French versifier could make them ; but an Englishman finds them very trying. We acknowledge ourselves incapable of fairly appreciating the Chevalier de Châtelaines wark, (*) We are always . while we are reading it thinking of the original, and not remembering that thèse pages after ail are written for those to whom the original is a sealed volume." — The Morning Star, Nov. 12, 1866.

{}) Voilà une drôle de critique, nous la citons sans en changer un mot. C'est tout bonnement un brevet d'incapacité, et d'ignorance crasse que se délivre gratuitement et avec une modestie rare, le

4IO l'ISTE GÉNÉRALE DES OUVRAGES

LÀ TEMPÊTK Drame-Féerie de Shakespeare.

" From dme to tîme we hâve had occasion to notioe the excellent translations of 'Hamlet/ 'Macbeth/ and ' Julius Caesar ' which Tthe Chevalier de Châtelain has given to the reading world. His earliest effort, if we remember aright, was a French version of the * Canterbuiy Taies* of Chaucer. The sélection of the Father oi English Poetry for his coup if essai might, at first sight, seem bold ; yet when we remember the peculiarly Norman form of Chaucer's language, and the almost French construction of his verse, we shall perceive that the task was incomparably less difficult than to render the mighty Elizabethan bard's nervous Saxon into modem French équivalents. Indeed, a worthy rendering of a Shakespearian passage is, in our estimation, the hig^est test of the ability of a translator, and of his mastery of both languages, which the whole range of literature in either language can supply. We will not disparage other tians-

Moming Star, Conçoit-on que dans un journal de la prétention da Moming Star, il n*y ait pas parmi tous les rédacteurs, un sckdar^ un seul, qui puisse comprendre assez de français pour pouvoir dire franchement si une traduction de Shakespeare en français est bonne ûu mauvaise; en un mot s'il fait nuit, ou s'il fait jour? Du reste nous qui signons cette note, lecteur quotidien du Moming Star dont nous aimons la politique anglaise, tout en détestant les plates, basses et ignobles flagorneries que ce journal envoie à Louis Napoléon et à son auguste famille pour avoir le privilège d'entrer en France, on il n'entre malgré ce, que deux ou trois fois par semaine, nous pouvons constater ce fait : c est que chaque fois que le Moming Star s'avise de citer une phrase françtdse, il y a au moins sur huit mots — quatre mots estropiés et défigurés; c'est un combat à Voutrance comme écrit le Moming Star contre la grammaire française.

Le Moming Star est aussi fort sur la prose fran^se, que Thk OwL {Le Hibou) est fort sur la Poésie française. The Owl (/> Hibou) est rédigé, dit le cancan des Clubs, par des gens du meilleur monde. Les Hiboux, selon la même autorité, ne sont rien moins

?ue des échappés, cjnelques-uns avec, quelques autres sans .... loNNEURS (au pluriel entendons-nous) des univexsitésde Cambridge et d'Oxford, et leurs Hibelles (le mot n'est pas de nous» il est de l'invention o/tke Owl) et leurs Hibelles sont . . . belles!

DU CHEVALIER DE CHATELAIN. ^i i

lators among our neighbours et outre manche; on the contrary, we would encourage to the best of our power thèse interchanges of the literature of two great nations, as tending to add yet another bond to the ties which connect the peoples — to induce the cultivation of congenial tastes and an identity of sentiment and sympathies. Yety without instituting comparisons, which are proverbially odious, we can candidly say, that neither Alexandre Dumas, Paul Meurice, or François Victor Hugo has displayed the same facile versification and âow of language, whUe adhering closely to the text of Shakepeare, as appear in innumerable places throughout the Chevalier de Chatelain's translations. Of course he is unequal, but scarcely ever loose in the passages where the peculiarity of phrase, or what may be called the hidden meaning of the author, would lead us to expect failure or obscurity. We will go fiuther, and say, that an

Or ces HibeUes et ces Hiboux que Ton croirait des échappés d'un Bedlam ou d*un Charenton quelconque, commettent presque tous les mercredis la saison de Londres durant, des Impertinences sans nom, qu'ils appellent des vers français — en voici un échantillon, cette fois la citation a moins de Hiatus que de coutume :

'* Ne me faites pas de nuU^ Tenez, prenez ma hallebarde.

Faites moi tnisêricordej Et qu'à vous le bon Dieu accorde^ Quand vous irez chez VA mirai.

Je vous le dis en à part M/, D'avoir soin d'éviter son tÂi; , Le reste est à peu près mangeaàle!

Mais son thé n'est pas enduradU!"

Nous ne concevons pas que ni le " Punch," ni le " Fun,*' ni la grave " Saturday Review " ne donnent sur les pattes des Hiboux, et de leurs belles HibeUes, pour les guérir de la maladie des vers, soidisant français, faits à Ut façon de Biribi, mon ami.

(/n icorcAédu 15 Juin, 1864.

Non encore guéri des ^ratignures méchamment faites à ses vers par les Hiboux et leurs belles HibeUes!

Le Chevalier de Châtelain.

educated Frenchman will form a fairer esdmate of Shakespeare from thèse translations than any version we hâve yet examined. We may note, en passant^ that as the Chevalier dedicated his 'Julius Cassar' 'to hîs countrymen, the Frenchmen of the year of shame, 1866/ so we find, in the préface to the présent drama, a vindication of that dedication against certain objectors, in which his hatred and contempt of the ' Historian of Caesar ' are expressed in terms of scathing scom and buming indignation. M. de Châtelain déclares that he thus dedicated his version of Shakespeare's 'Julius Caesar,* because the 'Julius Caesar' of Shakespeare is instinct with political spirît throughout, and ' that the Romans of Julius Caesar involuntarily and forcibly reminded him of the French of 1866 ; so enslaved, so gagged, so fast bound, that they allowed the man who is saddled upon them to make them bow to his yoke, coerced by a rod of iron, and to perform that PantagrueUsçue farce Th^ Empire of Mexico^ at the sacrifice of dieir best blood, and by the expenditure of treasure prodigally and stupidly lavished, which will certainly never retum to the coffers of the State.' We hâve, however, hère to deal with * The Tempest/ not with ' Julius Caesar,' and must pass on.

" * The Tempest,' as a poem, is perhaps one of the most graceful and complète of Shakespeare's créations, and we can safely assert that a careful reading of the Chevalier de Chatelain's translation has convinced us that for ease, fiuency, faithful rendering of the text, and an admiring appréciation of the immortal original, this last drama is the best of the author's Shakespearian versions/" — The Moming Adveriiser, J^an. 17, 1867.

" The Chevalier de Châtelain has added to his versions of * Macbeth, Hamlet,' and 'Julius Caesar,' a translation of * The Tempest.' In many respects his latest work is his best A play so purely poetical as *The Tempest' makes larger demands upon the talent of a translator than others in which, as in the before-mentioned works, passion, psychological analysis, or historical

DU CHEVALIER DE CHATELAIN

truth has to be présentée. Nothing is so hard to transfer from one language into another as the grâces and subtlety of poetry, of which ' The Tempest * is fulL The manner in which this feat has been accomplished by the Chevalier entitles him to our eamest congratulations. His coUected translations afford proof of diligence and zeal not easily paralleled, and the exécution of his works is careful and skilful in the highest degree. He has every reason to be proud of his translation of *The Tempest/ which may fearlessly challenge comparison with any récent attempt of its class. We hope the Chevalier will continue his self-imposed task of translating Shakespeare, and live to see in a completed translation of the master a monument of which any man may be proud." — Sunday Times^ y^»^- 20, 1867.

" The Chevalier de Châtelain dedicates his translation of Shakespeare's * Tempest * to the Rev. William Barnes, author of sundry poems, and addresses a few words to the reader. The Chevalier is an ardent worshipper of the poet, and has acquitted himself in his difficult task to the satisfaction of the most exacting. Our language is fuU of obstructions to those who would render it faithfiilly into another tongue, but the translator evidently applied himself boldly to the work, and has emphatically succeeded." — The Era^ yctn, 20, 1867.

"This is, we think, the most difficult task the enthusiastic Chevalier de Châtelain has yet undertaken. Indeed the more Imaginative portions of the work may be considered untranslatable ; but the labour hère has evidently been one of love, and to French readers the resuit will be both extraordinary and serviceable." — The Weekly Dispatch^ y an, 17, 1867.

" M. le Chevalier de Châtelain has already distinguished himself by his translations of Shakespeare's tragédies of ' Macbeth,' * Hamlet,' and ' Julius Caesar ;' also by his translations of ' Gay's Fables' and Chaucer's ' Canterbury Taies.' In this translation of Shakespeare's

'Tempest' he has achieved a no less decîded success, notwithstanding the almost insurmountable difficultîes attending the task of preserving in any translation of Shakespeare's works the spirit of the original." — Tke Observer^ Feb, 17, 1867.

" This is the fourth of the plays of Shakespeare, which the Chevalier de Châtelain has rendered into the language of his countrymen, theothers being 'Hamlet,' ^ Macbeth,' and 'Julius Caesar.' Although in the 'Tempest' the ' height of the argument ' be less great than in the other three, yet, from the wonderful créations it embodies, its dramatic interest, and the numberless *• touches of nature' that are found in everything of Shakespeare's, it is well adapted for a translation. The task the Chevalier has imposed on himself, as a whole, has been accomplished with skill and fidelity, although in a translation into French verse, with the additional clog of rhyme, we cannot be surprised to miss many of the délicate antithèses, the quaint and pitliy phrases that so charm us in the original ; the exigencies of rh3rme and rhythm will gready dilute the force of thèse, in spite of aU the skill and pains a translator can bring to bear upon them. The songs throughout the play, and the speeches of Ariel, are rendered with a happy lightness of touch, which makes them read not unpleasantly beside the original, and that is saying a good deal. The translation of the passage, *The cloud-capt towers,* etc., bating one or two expletives, demanded by the rhythm, is very successful, and we might mention many others. As. to minor matters, the book is well got up, printed on thick paper, in beautiful large type." — The Aberdeen Free Press and Buchan News, March 5, 1867.

1868. Shakespearean Gems in French and English Settings. William Tegg.

^'The above useful book is prepared for the use of students by the Chevalier de Châtelain. In the ftrst

place the sélections made are such as may be, with perfect propriety, placed in the hands of young students. The English blank verse is put into French rhymed Unes; and the Chevalier de Chatelain's attachaient to the works of Shakespeare is so generally known that full confidence would be felt as to the good taste and literary ability he would display in undertaking any labour of the kind. French is spoken and read everywhere on the Continent, and it is not too much to expect that the book will originate a love and admiration for our Shakespeare's writings where they are now unknown. The Chevalier makes his extracts from the plays in no particular order. Believing * The Comedy of Errors ' to hâve been the first stage play written by the Bard of Avon, the translator commences with it, and next introduces some fragments from *Love*s Labour Lost.' The historical plays hâve their places, and the Chevalier includes extracts from * Titus Andronicus ' and ' Pericles, Prince of Tyre,* two productions attributed to Shakespeare, but conceming which little perfectly authentic is known. The compiler of this excellent work inserts a few remarks regarding the origin or peculiar features of each play brought forward ; and in carrying out this very satisfactory part of his plan, has fréquent recourse to the criticisms of Doctor Johnson. The Chevalier's book has supplied a want, and in its time such a work must do incalculable good. It is only reasonable to présume that our opposite neighbours, either juvénile or of more mature years, will, on reading thèse sélections, désire to become acquainted with the plays in their perfect shape, and the Chevalier de Châtelain can help them to realise that wish, for he has now rendered into French many of Shakespeare's plays in an unmutilated condition." — 7%^ £ra, July 26, 1868.

" In the English settings thèse gems, of course, are admirable. The author has shown excellent taste in his édition. But who can translate Shakespeare either in Sound or thought ? The vemacular language in which the Great Poet originally robed his ideas is a part of him-

41 6 I^U CHEVALIER DE CHATELAIN

self. No translation can do him justice. Every attempt, not excepting Victor Hugo's, is a failure ; and most attempts, either in French or German, are ridiculous failures. The sweetest, grandest Unes the Bard of Avon ever uttered appear like burlesque in the French cosiunu. And yet the effort to render Shakespeare into French is not to be despised. Something of the 'bright original' may now and then shine through the translator's disguise. At ail events, works like the one before us are admirable text-books for students of French and English. The book is got up in Mr. Tegg's usual good taste, and no doubt it will hâve a large sale." — The Cosmopolitan^ July 26, 1868.

" This, the translator assures us, being * essentially an international work, is intended for the youth of both countries/ so * the sélection has been carefuUy made, with a view to admit the volume being placed in the hands of the youngest students of the French language," whilst io form the judgment of the young reader, critical notices are prefixed to the spécimens of each play, some of them being by well-known commentators, others from the fluent pen of the translator himself. M. de Châtelain has honestly given English and French side by side, so students of thèse tongues will find the work, for purposes of comparison, interesting and useful." — The Weekly DispaUh, July 26, 1868.

" Indefatigable in his poetical labours, the Chevalier de Châtelain has added a fresh sheaf to the resuit of his former gleanings. His présent work is likely to be serviceable in schools, both French and English. I^ consists of a séries of sélections from the works of Shakespeare translated into French, the two versions being printed on opposite pages. The advantages of this System are numerous. The task of translation is satisfactorily accomplished.'^ — The Globe^ Aug, 4, 1868.

**We shall be considered without doubt somewhai hypercritical if we suggest that * Joyaux' for the title of this

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book hardly conveys our notions for ' gems ' in the sensé in which it is used, and we honestly confess at the same time our difficulty in finding a much better word. It enables the compiler, however, to use the rather taking adjunct of ' in French and English settings/ which doubtless had something to do with it, and in so very minor a détail let that pass. We think the public will certainly welcome this sélection because it is ' not cast in the hackneyed mould of the time-honoured " Elégant Extracts " of our forefathers ' and is * carefully made, with a view to admit of the volume being placed in the hands of the youngest students of the French language. For, without committing the presumptuous folly of altering what the great Bard has written, we had only to choose from a number of passages in which the purity of the language, is equalled by the purity of the thoughts that dictated it' It will be seen at a glance what mission this book is intended to fiilfil, namely, to be a book for students both of French and English, and is therefore in the préface not inaptly termed international. Modestly setting forth that ' although we are far from maintaining that a translation, however conscientiously performed, can ever be more than the reâection of a sunbeam, as one may say, espedally where Shakespeare personates the sun ; still, just as a faint écho gives us the hint of a melodious Sound, so we trust that our écho of the great Bard's tuneful numbers will stimulate youthful aspirants to master the language in which the original was written. Our readers will see for themselves the eamest spirit in which the work has been undertaken, and the student in each language may be safely left to himself to leam what he can from a carefiil study of it For without study, save to the proficient in both languages, of necessity much of the pith will be lost The hand of the careful master will be noticed not only in the sélection of the extracts but in the arrangement of them. The passages from each play are prefaced with a few remarks, chiefiy the recorded opinions of Johnson, Steevens, Farmer, and

Thomas Camphell, with occasional original information. Indulgence is craved ' in ail those cases where the necessîty of getting over some insunnountable difficulty has unavoidably rendered the translation less strict than «e could hâve wished, and has led us perforce into any sîn of commission or omission.' Truly this is the âge for éditions of Shakespeare, if not the Shakespearean âge. It would be a labour of no little time to reckon up the vast number that hâve appeared within our memory, from the valuable and magnificent one by J. O. HalliweU, £sq., to the latest shilling ones of Dicks, Routledge, and Wame, to say nothing of the innumerable extracts and single plays of the great dramatist that in every canceivable shape and form, and at every price hâve been showered upon us. But Mr. Tegg has, in point of utility, we think, distanced them ail, and his new venture certaînly deserves success. Never to our knowledge has there been any portion of Shakespeare published giving at the same time the French translation as is done hère, the two texts being placed opposite to each other, an arrangement of immense value to the student and very pleasant to the accomplished reader. 'Embarras du choix ' will utterly fail to make our readers comprehend the difficulty we are in in reviewing this important bock. Where ail is so well done and consequently so little to be found to complain of, it certainly does not leave much for the critic to do save to reproduce such of the ' gems * as strike him most We do not for a moment set up that we can see the grandeur of Shakespeare's own words in the French rendering, that would be simple nonsense to expect, and we think perhaps on revision certain emendations would be made from time to time, as the genius .of the translator was brought more directly to bear on any particular passage, but we can fearlessly assert that taken as a whole it is as perfect as we can ever hope to see it, and will be an enduring record of the great pains, persévérance, and care that hâve accomplished so délicate and yet so difficult a task. We hâve hitherto done an

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injustice in thèse remarks, and so far dcme so intentionally, because had we at the outset said the translation was from the handiwork of the Chevalier de Châtelain, it would hâve left us nothing further to say in the way of commendation of it To us it is particularly acceptable to see one more step taken in the direction we are anxious for our part and for the sake of the lettered public^ to see the worthy Chevalier take. Having had the pleasure to read his able translations of 'Hamlet/ 'Macbeth/ ' Julius Csesar,' * The Tempest/ and this his latest production, we are not without hope of seeing a complète translation of the works of William Shakespeare issue from the press by this gifted author, than he none could better do the work, than Mr. Tegg none could better bring it out

" It would be invidious and ungracious to add another word save that of wishing well to the * Joyaux de Shakespeare/" — Tà^ Stralfardntpon Avon ChronklCy Aug, 7,

" The author of thèse ' Shakespearean Gems,' who has derived so much wcll-deserved famé for many excellent translations, haa now produced an essentially international work. The rendering of Shakespeare into French is, indeed, a most arduous task, since the necessities of that language require that the poetry should be adapted to rhymed Unes. It is obvious that the constantly seeking aiter rhymes must very frequently call for the insertion of worids that were never written by Shakespeare, but we are bound to say that the author has adhered as literally to the text as could possibly be expected under such unfavourable circumstances. To an Ënglish reader this rhymmg System wiil be a drawback if he expects to discover a French équivalent for each and every word, but a Frenchman will possibly find the language better suited to his views of poetry. The sélections are carefully made, with a view to admit of the volume being placed in the hands of the youngest students of the French language. It is intended for the youth of both

countries, and whilst initiating the English scholar into some of the difficulties of the Frendi language it will introduce the French scholar to the beauties of Shakespeare, and will give him some hopes of being able at a future time to read the immortal bard in his own language." — Tk^ Observer^ Aug, 9, 1868.

''Shakespeare belongs to ail men, like Goethe and Cervantes, and Rabelais and Le Sage." — 77u Athenœumy Sept 19, 1868.

'' ' Shakespearean Gems, in French and English Settings/ is the title of a usefiil volume published by Mr. Tegg. On the lefl-hand pages are given extracts from the tragédies and comédies of Shakespeare, and on the right-hand pages translations of the passages into lacy French verse; each play being preceded by a short account of its plot and intention. The editor is the Chevalier de Châtelain, who has performed his task in a very creditable manner." — The BookseUer^ Aug, 1868.

" L'esprit des grands écrivains est la lumière de Tâme humaine qui éclaire les peuples et les prédispose à la pratique de la liberté. Cette vérité innée est devenue pour ainsi dire palpable depuis la découverte que fit rimmortel Guttemberg ; grâce à l'imprimerie, en effet, la pensée, privilège des hommes d'élite, devint le patrimoine de tous. Mais cette découverte, en donnant au monde des idées un mode sublime de transmission, devait produire ce qui est arrivé, un grand mouvement rénovateur dans la littérature. Shakespeare fut un des grands initiateurs de ce mouvement Aussi malgré son génie, ses ouvrages se ressentent-ils de l'époque oU il vécut ; c'està-dire qu'à côté de beautés de premier ordre, on trouve des passages dont la facture ferait presque douter de la source, si elle pouvait être contestable.

" Dans cette condition, les critiques ne devaient pas lui manquer. Voltaire surtout, selon son habitude, fut amer. Mais pour avoir voulu obscurcir ce génie, qu'en est-il résulté ? Les nuages se sont effacés et l'immense

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soleil littéraire des Anglais est resté resplendissant. L'homme d'ailleurs ne saurait être infaillible, quelque soit la puissance de son organisation. La nature ne la pas voulu, pour nous montrer sans doute qu'en leur essence primitive tous les hommes sont égaux. Ne demandons donc pas l'impossible et acceptons le génie tel qu'il est, tel qu'il doit être, avec son vol audacieux et l'empreinte de ses ailes au niveau de ce monde. Malgré ses imperfections, que Shakespeare reste pour l'Angleterre ce que l'aveugle de Smyme est resté pour l'antique Grèce et ce que Corneille est resté pour la France, l'un des plus grands poètes dont le monde puisse s'honorer.

" * Les Joyaux de Shakespeare,' morceaux choisis du célèbre barde par Monsieur le Chevalier de Châtelain, avec la traduction en regard, sont donc une véritable bonne fortune pour tous ceux qui aiment à se pénétrer l'esprit de grandes pensées et de grandes choses. La délicatesse du choix révèle un discernement exquis chez le traducteur; sans mutiler le génie du poète, il a su donner à ses joyaux la chasteté nécessaire pour qu'ils puissent sans danger être mis dans toutes les mains. Ij3l fidélité de la traduction, l'élégance et la pureté du style font de ce livre un écrin d'une valeur incontestable. H est indispensable à l'étudiant qui cherche à s'initier à la langue de Shakespeare et sera d'un grand charme pour celui qui tout simplement veut apprécier le grand poète en amateur." — 7>5^ Glowworm^ Nav. 20, 1868.

" The translation of a portion of ' Romeo and JuKet ' is the work of M. Emile Deschamps, and it bears the mark of a graceful hand. The Chevalier de Châtelain, who is responsible for ail the rest of the book, is to be complimented upon his dévotion and arduous labour. We would gladly add to this our congratulations on his success, but he has placed it out of our power to do so. Nevertheless we should be happy to meet him again. Might he not try his hand at the rendering of some English lyûc&r'—The Spedatar, Dec. 19, 1868.

1867. Recueil Choisi de Traits Historiques et DE Contes Moraux. Par N. Wanostrocht Nouvelle Edition, revue, corrigée, et suivie de Poësies Anglaises et Françaises, avec les Traductions en r^ard, mises en ordre, par le Chevalier de Châtelain. Publié par Guillaume Tegg, 12, Paneras Lane, Cheapside, K.C.

" It would be interesting to know the number of éditions that hâve now appeared of this famous elementarj schoolbook, the 'Recueil Choisi of N. Wanostrocht There is no due whatever to the précise number upon the title-page of the présent re-issue of it — ^this * nouvelle édition' for 1867. Whatever the multiplicité of pieceding éditions, however many they may hâve been, this new one is in several respects an undoubted improvement upon the best of its predecessors. It is by reason of its careful revision under the hand of its new editor, the Chevalier de Châtelain — an accomplished ?iamme df lettres^ long since naturalized in this country, and himself honourably known in the literatures both of France and England. Of the body of the work under notice it wouid be idle, nay almost ridiculous, to say one word, now-adays — ^Wanostrocht's * Recueil Choisi * being about the best-known and best-thumbed book compiled for inductîng of English students into a knowledge of the French language. Of the completion of the work now, however, by the supplementing to it of English poems, and afterwards of French poems, each accompanied on the confronting pages with appropriate translations as nearly as possible Une for Une and stanza for stanza, we may, and in fact ought, to say a word or two, if only m passant. Gracefully referring to the English poems thus supplemented to the number of fifteen, the editor of this new and as far as practicable perfected édition of the * Recueil Choisi ' takes occasion to remark in his Préface : — * Que cette partie nouvelle du livre laisse de charmants souvenirs dans l'esprit de nos jeunes lecteurs, nous n*en doutons pas, vu le mérite reconnu de chacun des Poètes

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Anglais que nous citons.' Âbout the merits of the French Poets, of whom spécimens are given afterwards, he is nevertheless altogether dumb — ^his speech just now being indeed silver and his silence thus immediately afterwards golden in its éloquence — ^when it is remembered that among the French Poems given, there are some by himself, as well as others by Amault, Victor Hugo, and Deschamps. One of the Editor's own (*Le Rêve d'un Petit Enfant*) being, in truth as exquisite a morceau as there is in the volume. The list of poetical writers honoured by quotation in this new issue of the * Recueil Choisi ' comprises within its restricted range the names of Joseph Addison, Robert Bums, Thomas Campbell, William Bames, Gerald Grifïin, Felicia Hemans, Leigh Hunt, Charles Kent, Charlotte Smith and Robert Southey. The translators of the foregoing are varions, and for the most part very noticeable indeed for their accuracy." — The Sun, Jan, 4, 1867.

" The book is made still more valuable by reason of having added to it a sélection of Englîsh poems, ancient and modem, each of which has the French translation opposite. This department has been conducted by the Chevalier de Châtelain, a most industrious literary vétéran, whose good taste is a safe guarantee that the work has not been injudiciously peiformed." — Public Opiniony y an. 12, 1867.

"As a text-book for English students of French, this one has a very old-established réputation. Going with the times, however, it has been put into the hands of the Chevalier de Châtelain (and into abler ones it could not hâve fallen) for revision ; the requirements of the présent style of the language rendering such a step désirable. It is now presented to the public thoroughly redressed in this respect, and to this édition are added some poems in English and French en regard by some of the best writers. This is, we think, a most important addition ; how few Englishmen, albeit tolerably proficient in the

language, can appreciate French poetry and use thdr éducation on it, having stopped at the prose. The Chevalier de Châtelain has done more perhaps than any man living to remedy this by his admirable translations. We notice with pleasure Madame de Châtelain has also contributed some translations, trifles as the Chevalier may call them, which very fully bear out the favourable verdict we hâve already passed on them in thèse columns. We wîsh this practical studenfs book ail the success it deserves." — The Stratford-upan-Avon Chronide^ 3^<on. 25,

" This is a new and very much improved édition of a well-known educational work. The translator of Chaucer, Shakespeare, Gay, etc., has hère given in addition many minor works from the English poets, ancient and modem, also some few fresh ones by Amault, Emile Deschamps, Victor Hugo, and a few are added by the leamed editor himself, which we doubt not will be considered valuable additions to an already popular standard book. The translations are ail set forth in the Chevalier's usual polished and refined diction ; giving not only the raere words explanatory of the subject in the hest way, but at the same time preserving ail the essence of the thougàt to be expressed" — The Briiish Boy, Feb. i, 1867.

CLÊOMADÈS.

Addenda aux Opinions de la Presse sur la seconde édition de Cléomadès. Voir pages 358, 359, 360, 361, 362, 363, 364, et 365 du présent ouvrage.

Cleomadâs. Conte Traduit en Vers Français Modernes, du Vieux Langage d'Adénès le Roy. Par le Chevalier de Châtelain.

" It has often been remarked that many of our great poets hâve left some of their best works unfinished. Byron's 'Don Juan' and Coleridge's 'Christaber are well-known instances of splendid poetical fragments ;

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and Chaucer's ' Squire's Taie/ not so well known perhaps, still remaîns a taie half-told. While every-one regrets the incomplète state of thèse poems, we ail somehow feel that it would be almost saerilege for any other hand to attempt their continuation or completion. However provoking it is to be puUed up suddenly just when the interest begins to culminate, it cannot be denied that the Very abruptness of the termination gives a zest and piquancy to the taie which it would otherwise want The imagination has free scope and play, and we naturally indulge in spéculations on the probable scènes and incidents of the story, the nature of the dénouement, and the fate of the chief characters.

" A curions and interesting discovery was made some years ago in référence to the * Squire's Taie.' Chaucer is known to hâve borrowed the groundwork or plots of his stories from every available source, and his intimate acquaintance with the legends and romances which formed so large a portion of the literature of the period in which he lived is undoubted. Of the stories told by that motley throng of pilgrims who met at the famous Tabard Inn, Southwark, on their way to the shrine of Thomas à Becket at Canterbury, ail are complète but the 'Squire's Taie.' Many hâve been the attempts to dîscover the source whence it was derived, but the honour of the discovery seems to hâve been reserved for the Chevalier de Châtelain. This gentleman is the author of several French poems of considérable merit, some of which hâve been favourably reviewed in our columns. He has shown his partiality for and his appréciation of English poetiy by giving excellent translations into French verse of ' Gems from Shakspeare ' and * Chaucer's Canterbury Taies.' His attention was thus directed to the *hîdf-told story of Cambuscan bold,' as Milton terms it; and he felt anxious to solve the enigma which had puzzled whole générations of commentators. His industiy was at length rewarded by finding in the Library of the Arsenal at Paris a very bulky MS., which in ail probability is the

original of the taie. This MS. poem was wiitten by Adénès le Roy, a minstrel attached to the couit of Henry III., Duke of Brabant, who reigned from 1248 to 1261. Chaucer âourished about a century later than this, and it is exceedingly likely that he was familial with Adënès* poem, wliich, by the way, was called * Cléomadès.' Old Geoflfrey, as we hâve remarked, was too careless to invent when he had before him the grotind plan of a good story to work upon ; but it was emphatically tnie of him in this respect that nihil quod tetigU non omavit. In his hands the driest and most unpromising materials were made to glow with a peifect halo of the richest poetry. Adénès' poem, it would appear, is occasionally interesting, and does not altogether lack originality and power; but it is excessively prolix and diffuse, and it is written in the old French of the i3th century. M. de Châtelain has rendered it into gracdûl and vigorous modem French. He has condensed the 30,000 lines of the original into somewhere about 2,000, and thèse contain ail the sap and pith of the story. His version of ' Cléomadès,' it will thus be seen, is not a mère translation ; it is far more and better than that ; and we cannot but think that the Chevalier has by tiiis work added another wreath to his chaplet. He has laid the admirers of the father of English poetry in particular, and the literary world in général, under a debt of gratitude both by his discovery and by his translation. It only remains to say that the poem, now in its second édition, is handsomely got up — ^the paper, typography, and arrangement ail being such as to satisfy the most fastidious tastes." — Perthshire Advertiser and Strathmore Journal^ March 4, 1869.

" This is the second édition of Le ChevaUer de Chatelain's translation into modem French verse from the ancient French of Adénès le Roi, the original author of * The Squire's Taie,' which was reproduced in Chaucer's 'Canterbury Taies.' The original authorship of

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the taie had long puzzled the commentators on Chaucer's Works till the discovery made by M. de Châtelain in the library of the Arsenal at Paris, where the original work of Adénès le Roi was found; and subsequently the first édition of M. de Chatelain's translation was published in 1858." — 7^ Observer^ March 14, 1869.

Histoire de Charles XII., par Voltaire. Editée par le Chevalier de Châtelain. William Tegg.

Prix 3s.

"We confess to a liking for the Chevalier who has edited this volume. We like him for the service he has rendered the réputation of our Shakespeare in his élever translations and paraphrastic versions of ' Hamlet,' the 'Tempest,' and *Julius Caesar.* We like him for his honesty of purpose — ^the purity, good taste, and discemment apparent in his criticisms, and, more than ail, for the intensity of his dislikes. He is, what Dr. Johnson called, * a good hâter,* and he especially shows it when modem kings and emperors are lus thème. He has no patience with their despotic freaks, and is still less tolérant of their adulators. This latter feeling he avows to hâve originated and inspired the préparation of a new édition of Voltaire's well-known history. He desires * D*empêcher la jeunesse d'être complice, sans le vouloir, des adulations de Voltaire pour tout ce qui fut Roi, Reine, Empereur, ou Impératrice.* Not that the Chevalier has any dislike to royalty in the abstract. Though he dénies the applicability and title of * Grand* to Louis XIV. and Napoléon I., and though the présent Emperor of the French has been denounced by him in more than one of his works, he, we believe, respects legitimacy when accompanied by the virtues which should distinguish crowned heads above ail men. But it must be confessed his passion for a republic exceeds his regard for even a model monarchy.

" In the exécution of his présent task the Chevalier de Châtelain has very carefully read Voltaire's ' History,'

and does not allow a single opportunity to pass of correcting his blunders and censuring his extravagant eulogîes of the Swedish madman. In schools where it may be deemed important to foster a vénération for Kings, and to believe in the divinity which * hedges ' them, the volume will not probably be acceptable; but amongst readers who prefer Truth to the décorations and palliatives Flattery is every ready to apply to its subjects, the Chevalier's édition will take a deserved precedence." — J^Taval and Military GazdtCy March 13, 1869.

" Mr. William Tegg has published a new édition of Voltaire's famous *■ Histoire de Charles XII.' It forms a neat and compact volume, though the print is somewhat small. The editor is the Chevsdier de Châtelain, fàvourably known for the bold experiment he has made in translating Chaucer's 'Canterbury Taies' into French-" yohn BuUy March 20, 1869.

" It is a good while since we read Charles XII., hni we suppose there are few French leamers now but hâve it for a text book as in our day. But then it did not come to us in so présentable a form. We give Mr. Tegg crédit for a wise discrétion in sending out a new édition. So well got up is it that we can almost fancy we hâve something new as to matter as well as make. Our old friend has certamly a new face. Again has the publisher availed himself of the carefiil services of Le Chevalier de Châtelain, whose dedication to the Rev. George M*Crie, introduction, and notes, are of course ail in the volume before us that Voltaire did not write. In thèse one traces the well-known hand and the same talent ; there was not a great deal for the editor to do, perhaps, but what he had to do has been done well ; and what the publisher had to do has been done well too." — TheStraiford-onrAvan Chronidey March 26, 1869.

" We hâve before us a new édition of M. de Voltaire's life of Charles the Twelfth, King of Sweden, by M. le Chevalier de Châtelain. M. de Châtelain is well known

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in the literary world as a poet of no mean merît, and we hâve no doubt but that this new édition will be well received by the public. Though Voltaire's views on questions of etemal import were not what they ought to hâve been, and though he did not make a proper use of the immense powers with which he was gifted, still it must be admitted that no man during the last century contributed more than he did to the enfranchisement of thought

" We subjoin portions of M. de Chatelain's introduction to this new édition. It will give our readers a sufficient idea of the merits of the ' History of Charles the Twelfth/ ''—The Guemsey Mail and Tekgraph, AprU 27,

"Le Chevalier de Châtelain a doté 'l'Histoire de Charles XII.' de notes très précieuses, expliquant, critiquant, rectifiant l'œuvre de Voltaire." — Le Courrier de PEurope, i* Mai 1869.

SITUATION AU i« MAI 1869,