Œuvres complètes. II. Œuvres de Kristiania (1850-1) by Henrik Ibsen; P. G. La Chesnais; Œuvrescomplètes. III. Œuvres de Bergen (1851-7) by Henrik Ibsen; P. G. La ChesnaisReview by: J. G. RobertsonThe Modern Language Review, Vol. 27, No. 4 (Oct., 1932), pp. 494-495Published by: Modern Humanities Research AssociationStable URL: http://www.jstor.org/stable/3716016 .

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syntaxe castillane d'aujourd'hui,' this aspect of Gongorism did not take deep root in Spain. Still less are French and English capable of reflecting it. On the other hand the attempt to renovate poetic vocabulary and imagery has lost none of its pertinence, and this to some extent does admit of translation. A second query concerns the degree to which translation of such an author should involve interpretation. To translate G6ngora one must understand him-and here all translators agree in paying homage to D. Damaso Alonso's prose version of the Soledades, the veritable corner-stone of their edifice-but to make him understandable to the plain man is to jettison the essentials of his achievement.

It would seem, then, that Gongora in any other tongue should still be 'obscure.' On this point Mr Wilson's brilliant rendering of the Soledades appears to us more satisfying than the selected versions of M. Thomas (the Polifemo, about one-third of the Soledades and a number of short poems). M. Thomas's unrimed lines, ranging from three to fifteen syllables, allow a close approximation to the sense of his original, but his formlessness can scarce commend itself save as translation, and, when no exact equivalence offers, we miss the metrical restraint that would demand a substitution equally pregnant. To render 'erraba' by 'd'un endroit a l'autre allait et venait, 'hidr6pica' by 'avide,' 'esfinge bachi- llera' by 'sphinx plein de faconde impertinence' is to dilute an art all quintessence. Such dilution corresponds, of course, to the series in which the volume appears, as do the abundant foot-notes. Mr Wilson, who has adopted a riming scheme of six and ten syllabled lines that corresponds very closely to Gongora's, is no less bold in vocabulary than the Spaniard. He adds, it is true, occasional obscurities of his own: such as 'all the essential powder of our age' for 'la polvora del tiempo mas preciso,' which is only intelligible in virtue of a pun in the original; but the measure of his triumph over such an original invites, we think, serious attention to his poem even without reference to the Spanish. Here is more than a tour-de-force; it is poetry transplanted, with vigorous pro- mise of fresh fruit. And withal most charmingly presented by the publisher.

WILLIAM C. ATKINSON. GLASGOW.

HENRIK IBSEN. (Euvres completes. Traduites par P. G. LA CHESNAIS. II. (Euvres de Kristiania (1850-1). III. (Euvres de Bergen (1851-7). Paris: Plon. 1930, 1932. 496 pp. and 642 pp. Each 60 fr.

Since my first notice of this magnificent edition of the works of Ibsen in French translation (Modern Language Review, xxvI, pp. 231 ff.) two further volumes have appeared, carrying Ibsen's literary production down to Fru Inger paa Ostraat. I can only repeat what I then said of volume I, and especially of M. La Chesnais' editorial matter. His work maintains its promise to be, besides a faithful rendering into French of all that Ibsen wrote, 'the most exhaustive of all books on Ibsen, critical and biographical.' It will be indispensable to every student, whether he

syntaxe castillane d'aujourd'hui,' this aspect of Gongorism did not take deep root in Spain. Still less are French and English capable of reflecting it. On the other hand the attempt to renovate poetic vocabulary and imagery has lost none of its pertinence, and this to some extent does admit of translation. A second query concerns the degree to which translation of such an author should involve interpretation. To translate G6ngora one must understand him-and here all translators agree in paying homage to D. Damaso Alonso's prose version of the Soledades, the veritable corner-stone of their edifice-but to make him understandable to the plain man is to jettison the essentials of his achievement.

It would seem, then, that Gongora in any other tongue should still be 'obscure.' On this point Mr Wilson's brilliant rendering of the Soledades appears to us more satisfying than the selected versions of M. Thomas (the Polifemo, about one-third of the Soledades and a number of short poems). M. Thomas's unrimed lines, ranging from three to fifteen syllables, allow a close approximation to the sense of his original, but his formlessness can scarce commend itself save as translation, and, when no exact equivalence offers, we miss the metrical restraint that would demand a substitution equally pregnant. To render 'erraba' by 'd'un endroit a l'autre allait et venait, 'hidr6pica' by 'avide,' 'esfinge bachi- llera' by 'sphinx plein de faconde impertinence' is to dilute an art all quintessence. Such dilution corresponds, of course, to the series in which the volume appears, as do the abundant foot-notes. Mr Wilson, who has adopted a riming scheme of six and ten syllabled lines that corresponds very closely to Gongora's, is no less bold in vocabulary than the Spaniard. He adds, it is true, occasional obscurities of his own: such as 'all the essential powder of our age' for 'la polvora del tiempo mas preciso,' which is only intelligible in virtue of a pun in the original; but the measure of his triumph over such an original invites, we think, serious attention to his poem even without reference to the Spanish. Here is more than a tour-de-force; it is poetry transplanted, with vigorous pro- mise of fresh fruit. And withal most charmingly presented by the publisher.

WILLIAM C. ATKINSON. GLASGOW.

HENRIK IBSEN. (Euvres completes. Traduites par P. G. LA CHESNAIS. II. (Euvres de Kristiania (1850-1). III. (Euvres de Bergen (1851-7). Paris: Plon. 1930, 1932. 496 pp. and 642 pp. Each 60 fr.

Since my first notice of this magnificent edition of the works of Ibsen in French translation (Modern Language Review, xxvI, pp. 231 ff.) two further volumes have appeared, carrying Ibsen's literary production down to Fru Inger paa Ostraat. I can only repeat what I then said of volume I, and especially of M. La Chesnais' editorial matter. His work maintains its promise to be, besides a faithful rendering into French of all that Ibsen wrote, 'the most exhaustive of all books on Ibsen, critical and biographical.' It will be indispensable to every student, whether he

494 494 Reviews Reviews

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desires to have Ibsen's works in French translation or not. In these two volumes the introductory matter, apart from appendices and notes, covers no less than 340 pages. I am again impressed by M. La Chesnais' fairness and good judgment, his exhaustive familiarity with the literature on Ibsen, even down to articles in inaccessible Norwegian newspapers, and the lucidity of his criticism. Some of his chapters, indeed, I have read a little ruefully in finding in them themes discussed which, years ago, I had noted as calling for deeper investigation, but which the pressure of more immediate work has so far prevented me from taking in hand. He deals exhaustively with Ibsen's mission abroad in 1851, as far as his stay in Copenhagen is concerned; but I think that the subsequent weeks in Dresden, on which M. La Chesnais has little to say, deserve more careful consideration. The stimulus which Ibsen's first contact with the German theatre gave to his own dramatic work and to his views on the mission of the drama was no doubt important. The outstanding event during Ibsen's stay in Dresden was a 'Gastspiel' of the famous actor Dawison who appeared in Hamlet (twice), Richard III, Emilia Galotti and Holtei's Lorbeerbaum und Bettelstab; but, apart from this, the literary fare offered by the Dresden theatre during his stay was unfortunately mediocre, and yet perhaps not altogether without value. It is particularly disappointing to find that he had no opportunity of witnessing on the stage the outstanding German play of these years-and one which was closely associated with Dresden-Der Erbforster by Otto Ludwig. I have always been inclined to ascribe to that play some share in moulding Ibsen's prose dialogue. In his subsequent volumes M. La Chesnais will, I hope, have more to say about what Ibsen learned from Hettner's little book on Das moderne Drama.

J. G. ROBERTSON. LONDON.

SHORT NOTICES

A very delightful and varied menu is provided by Vol. xvII of Essays and Stitdies by Members of the English Association, collected by Sir W. H. Hadow (Oxford: Clarendon Press. 1932. 105pp. 7s. 6d.). Mr C. S. Lewis contributes an illuminating discussion of 'What Chaucer really did to II Filostrato,' ending with a philosophico-critical reflection that will rejoice some readers. From this exposition of Chaucer's mediaeval zest we turn to 'Jorrocks: a Conversation,' in which Professor W. L. Renwick sets forth sound reasons for his delight in Surtees, who also had the gift of gusto, in a lively dialogue. The Provost of University College writes on 'English Place-Names and their Pronunciation,' a question made acute by elementary education and its voluble child, Broadcasting. Dr Mawer's bias is, rightly, in the direction of' genuine conservatism in pronunciation.' But education is going to be too much for us, and Hallborn treads on the heels of Syrencester, while Tinmouth is relegated to the upper classes.

desires to have Ibsen's works in French translation or not. In these two volumes the introductory matter, apart from appendices and notes, covers no less than 340 pages. I am again impressed by M. La Chesnais' fairness and good judgment, his exhaustive familiarity with the literature on Ibsen, even down to articles in inaccessible Norwegian newspapers, and the lucidity of his criticism. Some of his chapters, indeed, I have read a little ruefully in finding in them themes discussed which, years ago, I had noted as calling for deeper investigation, but which the pressure of more immediate work has so far prevented me from taking in hand. He deals exhaustively with Ibsen's mission abroad in 1851, as far as his stay in Copenhagen is concerned; but I think that the subsequent weeks in Dresden, on which M. La Chesnais has little to say, deserve more careful consideration. The stimulus which Ibsen's first contact with the German theatre gave to his own dramatic work and to his views on the mission of the drama was no doubt important. The outstanding event during Ibsen's stay in Dresden was a 'Gastspiel' of the famous actor Dawison who appeared in Hamlet (twice), Richard III, Emilia Galotti and Holtei's Lorbeerbaum und Bettelstab; but, apart from this, the literary fare offered by the Dresden theatre during his stay was unfortunately mediocre, and yet perhaps not altogether without value. It is particularly disappointing to find that he had no opportunity of witnessing on the stage the outstanding German play of these years-and one which was closely associated with Dresden-Der Erbforster by Otto Ludwig. I have always been inclined to ascribe to that play some share in moulding Ibsen's prose dialogue. In his subsequent volumes M. La Chesnais will, I hope, have more to say about what Ibsen learned from Hettner's little book on Das moderne Drama.

J. G. ROBERTSON. LONDON.

SHORT NOTICES

A very delightful and varied menu is provided by Vol. xvII of Essays and Stitdies by Members of the English Association, collected by Sir W. H. Hadow (Oxford: Clarendon Press. 1932. 105pp. 7s. 6d.). Mr C. S. Lewis contributes an illuminating discussion of 'What Chaucer really did to II Filostrato,' ending with a philosophico-critical reflection that will rejoice some readers. From this exposition of Chaucer's mediaeval zest we turn to 'Jorrocks: a Conversation,' in which Professor W. L. Renwick sets forth sound reasons for his delight in Surtees, who also had the gift of gusto, in a lively dialogue. The Provost of University College writes on 'English Place-Names and their Pronunciation,' a question made acute by elementary education and its voluble child, Broadcasting. Dr Mawer's bias is, rightly, in the direction of' genuine conservatism in pronunciation.' But education is going to be too much for us, and Hallborn treads on the heels of Syrencester, while Tinmouth is relegated to the upper classes.

Reviews Reviews 495 495

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