[1] Note. As to translation of the name Carbon de Castel-Jaloux (such was the name of Cyrano's captain) see note page 77.

[2] Note. "La dentelle des canons."—"Canons" were ornamental lace, embroidery or ribbons around the lower edge of knee-breeches.—Not, as one translation has it: "the canonical gentlemen's lace."

[3] Query.—Might it not be argued that the "précieuses" were perhaps spiritual daughters of the euphuists, disciples of John Lyly, who flourished in England under Queen Elizabeth, about half a century before the time of action here?

[4] Note.—Not "an insolent cocktail," as one translation has it.

[5] Note.—Literal translation of "nasigère," a word invented by Ragueneau, would be euphuist.

[6] Note.—The play on the word "fraise" (both "strawberry" and "ruff") could not be reproduced.

[7] Note.—Alexandrine verse adopted here and further on (beginning of Act II) as being more pompous.

[8] Note.—The words "you kick," in the place of "tu récalcitres," were suggested by a friend, as a better translation. But the good critic failed to realise that Cyrano does not use slang, and is almost always, on the contrary, somewhat hyperbolic, addicted to willful oddity of speech.—"Récalcitrant," adj.-part. (doggedly resisting), is frequently used in French. But the infinitive "récalcitrer," though it exists, and the other forms of the verb are seldom, if ever, heard.—Cyrano, therefore, calls up a smile, if not a laugh, by resorting to the verb in the second person, singular, present, indicative.—To recalcitrate is a good English word (see Longfellow), but it is so seldom used that it creates on the English ear the same impression of amused surprise that is induced by the original.

[9] Note.—One of the translations that have appeared in the New York daily press renders "Céladon" by reference to Lord Chesterfield! The time of action (first four acts) of "Cyrano de Bergerac" is 1640, and Lord Chesterfield was born only 54 years later.

[10] Note.—In the original, Cyrano calls his opponent "Laridon." This is the name of a degenerate dog. See fables of La Fontaine ("L'Education").

[11] Note.—"L'Envoi," as often written, supposedly in French, is incorrect. It is, in French, when heading the last four lines of a ballade, "Envoi," without the article, l' (le).

[12] Note.—Alexandrines were adopted, instead of pentameter, here and further on, with the poets, for the reason that they seem more pompous and better in keeping with the affectation shown by the personages.

[13] Note.—The spelling rime seems preferable to rhyme, since rime and rhythm are two very distinct things.

[14] Note.—The miserable pun on "puits" (well) was found possible to reproduce. Needless to add that this is ambitious confectioner's verse, intentionally nonsensical.

[15] Note.—Ridicuckoldulous would be an exact translation.

[16] Note.—The Duenna, like Roxane, is a "précieuse," an euphuist.

[17] Note.—This is a Gascon oath. Like the similar oaths following, it would if translated literally (Blood of God,) lose its picturesque and really innocent character. All of these are oath-sounds rather than oaths, and somewhat oath-evading, after the fashion of "goldarn it," in America.

[18] Note.—The name "Castel-Jaloux," in the original, being indicative of Gascon pride and superlativeness, it was thought better to translate it in order to preserve colour. But here arose the question: "Him" or "He" of Haughty-Hall? Both cases have their champions, with most excellent reasons. It was thought, however, that argument might be avoided and the line be made more effective by the insertion of a dash after "Carbon," thus leaving time for the imaginary interrogation: "What Carbon?" following which suspension, the answer is. "He of Haughty-Hall" is the Carbon meant.

[19] Note.—The text here, justified by a current French expression, would be too broad in English.

[20] Note.—In this tirade, and in the following one, you, thou and she are intentionally interwoven. When Cyrano is carried by his emotion, he passes from you to thou, which latter is, in French, familiar and endearing much more than in English. Then, reclaimed by reason and fearing that he has overstepped the bounds, he returns to the (in French) more formal you, or resorts to a discreet she, only to forget himself again and to resume the caressing thou.

[21] Note.—"Un point rose qu'on met sur l'i du verbe aimer."

"A ruby O"...., as above, may prove, it is thought, a good example of equivalence, the i, impossible here in English, finding in O a good substitute, calling up, if not exactly the very same image, at least a kindred one fully as good.

[22] Note.—Cucurbit ("cucurbite") for moon is, in French, as odd as it appears in English. The oddity of the expression, that assimulates Luna to the rotund melon, pumpkin, etc., of the genus of plants known as cucurbita, is in keeping with Cyrano's intentional extravagance of speech.

[23] Note.—"Tu croques le marmot" (literally "you are eating the baby") is an allusion to ogres' proverbial taste for infants, coupled with the somewhat slangy meaning: "you are waiting long and impatiently." This in English would be meaningless, and was perforce replaced by what seems to be a fair equivalent.

[24] Note.—A French proverb.

[25] Note.—Intentional affectation, like that of "his indisposition was sentenced, for high treason."

[26] Note.—An evident anachronism, since Molière did not open his Paris theatre until three years later (1658). Given, however, the deep knowledge of seventeenth century matters displayed throughout this drama, the anachronism must be intentional, the poet's object doubtless having been to embody the tradition according to which the "Qu'allait-il faire dans cette galère?" of Molière's "Fourberies de Scapin" (produced only in 1671) was taken from Cyrano de Bergerac's "Le Pédant Joué."

[27] Note.—"It" here is Death (feminine in French). The personifying he somewhat customary in English poetry, was set aside, and the neuter gender was intentionally preserved, because, being more vague, it better represents the terror-striking unknown, and is more expressive of Cyrano's daring contempt and repulsion for a loathsome thing. Cyrano, who put to flight one hundred men, could not be expected to fear a person, much less a personification.

[28] Note.—See Introduction, Preface and Prefatory Triolets ("Le Panache").