Historical Context
Seventeenth Century: Thirty Years War
Edmond Rostand penned Cyrano de Bergerac in the late 1890s, setting the story in the mid-1600s. While the late 19th century was characterized by significant industrial and technological progress, the mid-17th century (marking the start of Louis XIV's reign) was a period marked by political intrigue and intellectual artistry. Understanding both eras is crucial to fully grasp the impact on Rostand's Heroic Comedy.
In the 1640s, France was still experiencing the repercussions of the Thirty Years War (1618-1648). This conflict, mostly taking place in Germany, involved the German Protestant Princes, France, Sweden, Denmark, and England fighting against the Holy Roman Empire, which included the Catholic Princes of Germany, along with Austria, Spain, Bohemia, and Italy. The war was predominantly about trade and control over the various eastern trade routes.
The war concluded for most nations in 1648 with the signing of the Peace of Westphalia. However, hostilities between France and Spain persisted, and in 1654, the Spanish besieged Arras in northwestern France. The historical Cyrano de Bergerac participated in this siege, and Rostand incorporates this historical event into Act II of his play.
Seventeenth Century: Civil Unrest
In 1648, French nobles, dissatisfied with excessive taxes, high tariffs, and road tolls, enlisted Spanish troops to rebel against Cardinal Mazarin, who was governing on behalf of the young Louis XIV. The aristocracy joined forces with the burgeoning middle class in France to suppress the revolt. The public was outraged by the nobles' alliance with France's adversary, Spain. This conflict later allowed Louis XIV to consolidate his power and establish himself as an absolute monarch.
Seventeenth Century: Literature
Under the reign of Louis XIV, known as The Sun King, French literature, arts, and philosophy became the benchmark for all of Europe. The Academie Francaise, established by Cardinal Richelieu in 1634, aimed to safeguard the French language by opposing slang and improper grammar in art and literature. (Edmond Rostand would become its youngest member ever inducted in 1901.) With a strong monarchy, the French enjoyed more leisure time for artistic activities than ever before.
In the 1600s, theater audiences were primarily composed of a small, elite group of aristocrats who had the means to support the arts. The elegant style of the era mirrored the affluent lifestyle of these patrons, who could afford to have artists within their social circles. Writers during the seventeenth century were often impoverished and relied on persuading nobles, landowners, and even Louis XIV to fund their creations. This concept has evolved into modern drama through government subsidies and grants for the arts, as well as grants and fellowships from various private and public foundations. Authors frequently included excessive praise of their patrons in their works. The real Cyrano de Bergerac detested such flattery but was eventually compelled to seek the support of the Duke of Arpajon. Rostand portrays de Bergerac's sentiments in his play, with his fictional Cyrano declaring: "Dedicate my works to men of wealth?/Become a sedulous ape, a fool who waits/For some official's patronizing smile?/No, thank you, ... I prefer to sing, to dream, to play/To travel light, to be at liberty."
Seventeenth Century: Salons
In the seventeenth century, literary works were read and discussed in salons. These gatherings, known as ruelles, were typically hosted by a French noblewoman who entertained aristocrats, writers, and philosophers while seated on her bed. This setting provided a "much needed refining influence on both the manners and language" of the gentlemen present, as noted by John Lough in his book An Introduction to Seventeenth-Century France . Madeleine Robineau, whom Rostand modeled Roxane after, was an...
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intellectual who frequently hosted such events.
1890s: Politics
Rostand wrote Cyrano de Bergerac in the late 1890s. The year it premiered, the French overthrew Madagascar's Queen Ranavalona, ending the century-long Hova dynasty; a Franco-German agreement defined the boundary between Dahomey and Togoland; and Britain and France edged closer to a potential conflict over colonial territories. The United States annexed the Hawaiian Islands, much to the chagrin of the Japanese, who still had 25,000 nationals residing there. Additionally, England's Queen Victoria celebrated her Diamond Jubilee, marking seventy-five years of her reign. Despite the looming threat of various conflicts, the world was experiencing a period of relative peace.
1890s: Science
In 1897, English physicist Joseph John Thomson demonstrated that an atom consists of electrons orbiting a nucleus, with each element possessing a different number of electrons and a distinct weight. This discovery of the atom paved the way for numerous scientific advancements and, later in the twentieth century, enabled achievements such as space travel and nuclear power. It was also discovered that the malaria parasite was transmitted by the Anopheles mosquito, leading to the widespread use of insecticides and the draining of wetlands where these insects bred. Additionally, the cathode ray tube was invented in 1897, eventually leading to the development of television and wireless communication.
1890s: Literature
During the 1890s, significant developments occurred in literature and entertainment. The Library of Congress was completed in Washington D.C. in 1897. That same year saw the first publication of several notable works, including H. G. Wells' The Invisible Man, Rudyard Kipling's Captains Courageous, and Bram Stoker's Dracula. Additionally, new plays debuted, such as Henrik Ibsen's John Gabriel Borkman, George Bernard Shaw's The Devil's Disciple, and Henry Arthur Jones' The Liars.
At a time when Naturalism dominated the literary scene, Edmond Rostand penned Cyrano de Bergerac, a work that stood in stark contrast to the prevailing trends. Unlike his contemporaries, who were focused on Naturalism, like Ibsen, or Symbolism, like Maeterlinck, Rostand drew upon the Romanticism of the 1640s to craft a unique theatrical experience. The 1890s were marked by significant changes, including new alliances, advancements in technology and industry, and shifts in social, political, and artistic landscapes. By setting Cyrano in the seventeenth century and modeling the protagonist on a historical figure, Rostand was able to delve into a more exotic and romantic era. As Lionel Strachey observed in a review for Lippincott's, "Rostand is the preeminent verbalist and sentimentalist of the French drama. He has the perennial talent of the right word in the right place, and that without prejudice to rhyme." Rostand's genius lay in crafting a timeless hero in Cyrano.
Style and Technique
Cyrano de Bergerac, authored by Edmond Rostand, is a captivating exploration of romantic ideals, heroism, and the complexities of human emotion. The narrative centers around Cyrano, a man of prodigious skill in both dueling and poetry, who is hindered by his exceptionally large nose. This physical trait becomes both a source of comedy and an emblem of his deep-seated romanticism and individuality, weaving a tale that resonates with themes of love, identity, and the timeless struggle for acceptance.
Romanticism Embodied
Rostand’s Cyrano de Bergerac falls squarely within the Romantic genre, characterized by its embrace of the exotic, individualistic expression, and the pursuit of ideals beyond mere human reason. Rostand took inspiration from the real historical figure, Savinien de Cyrano de Bergerac, who lived from 1619 to 1655. However, Rostand embellished the character with an exaggerated nose, transforming him into a symbol of unrequited love and personal valor. Cyrano's nose initially serves as a comic device but soon becomes a testament to his undying devotion and heroic nature, aligning with the Romantic ethos of elevating the extraordinary.
The Craft of Characterization
Cyrano, as crafted by Rostand, is a blend of fictional flair and historical authenticity. Rostand harnesses the real Cyrano's life as a springboard, injecting the character with grandiloquence and dramatic flair. This fictional Cyrano is a man who delights in his verbal prowess, weaving words into complex and captivating patterns that capture his audience's attention. Through his linguistic dexterity, Cyrano diverts de Guiche in a masterly fashion, drawing from his own literary work, Histoire comique des états et empires de la lune et du soleil. Yet, it is Cyrano's "nose tirade" that truly establishes his defiant character, setting the stage for his unconventional heroism.
The Art of Repartee
Rostand's play is rich with repartee, showcasing Cyrano's unparalleled wit. The "nose tirade" is a prime example, where Cyrano engages in a duel of words with a citizen, using his humor and quick wit to turn potential humiliation into triumph. Such exchanges are not merely comedic; they underscore Cyrano's intellectual superiority and enhance his heroic image, as he consistently outmaneuvers his adversaries with words rather than weapons.
Point of View: A Theatrical Lens
Similar to many dramatic works, Cyrano de Bergerac employs a third-person point of view, allowing audiences to witness events unfold without direct access to the characters' internal thoughts. Unlike Shakespeare, who utilized soliloquies to reveal characters’ innermost thoughts, Rostand relies on dialogue to express emotions and motivations, placing the burden on the characters' spoken words to convey their inner worlds. This choice amplifies the theatrical experience, turning every line into a window into the characters' souls.
Heroic Comedy in Verse
Rostand’s choice to write Cyrano de Bergerac in Alexandrine verse is a testament to his dedication to Romanticism and the poetic form. By doing so, he draws his audience into a world where language becomes a medium of beauty and depth. G. K. Chesterton aptly described heroic comedy as a "paradise of lovers," a realm where poetry seems the natural language of everyday life. In the English translation by Anthony Burgess, this poetic nature is preserved through heroic couplets, maintaining the lyrical quality of Rostand's original. The play's ending, while tragic, fulfills the Romantic ideal as Cyrano, through his demise, achieves his ultimate aspiration: recognition and love from his beloved Roxane.
Cyrano de Bergerac is a masterpiece that traverses the delicate balance between comedy and tragedy, offering profound insights into human nature through its unforgettable characters and lyrical language. Rostand's work stands as a beacon of Romantic literature, a testament to the enduring power of love, bravery, and the human spirit.
Compare and Contrast
1600s: The real Cyrano de Bergerac authors Histoire comique des états et empires de la lune et du soleil, detailing his "adventures" on the moon.
1890s: The atom is identified as having a nucleus encircled by particles known as electrons. This breakthrough paves the way for space exploration and the nuclear era.
Today: The Space Shuttle conducts regular missions to Earth's orbit, and preparations are underway for a future journey to Mars.
1640s: The Thirty Years War concludes for most nations with the Peace of Westphalia, although France and Spain continue to battle over territory until the late seventeenth century.
1890s: European nations persist in their colonization efforts in the Third World, competing for dominance. France ousts Queen Ranavalona of Madagascar, while Cuba seeks independence from Spain.
Today: The European Union continues to develop, with France and Spain as member states of this new federation.
1600s: Notable plays and literature were discussed in the salons of Paris by the aristocracy and nobility, who had the leisure to engage in theater and intellectual debates. Most common people did not share this privilege.
1890s: With the rise of newspapers and magazines, critics worldwide engaged in discussions about significant works at the century's turn. The arts became more accessible to the general public.
Today: People globally, regardless of social class, can access and discuss art and literature online. Information is more widely available than ever, with almost instant accessibility.
1640s: Society was structured in a rigid class system: aristocrats and nobles, a merchant middle class, and rural peasants and farmers who worked the land. The majority of people remained uneducated.
1890s: The late 1800s Industrial Revolution attracted more people to cities for factory jobs. Society became more urbanized as people left agricultural work for these new industries. Education became more widespread, with a growing emphasis on staying in school.
Today: The Technological Revolution is creating more office jobs as workers are "downsized" and laid off from factory roles. As society and industry become more automated, there are fewer opportunities for unskilled workers, and there is an increased demand for workers with a college education.
Setting
Edmond Rostand's play, Cyrano de Bergerac, unfolds across a series of evocative settings, each contributing to the thematic depth and character development. These locations serve not merely as backdrops, but as integral elements that echo the drama's exploration of love, honor, and poetic ambition. From bustling Parisian venues to the solemnity of a convent, each scene is meticulously crafted to reflect the complexities of the narrative.
Hôtel de Bourgogne
Our journey commences in the Hôtel de Bourgogne, a Parisian mansion whose main hall serves dual purposes. Typically a space for tennis, the hall transforms into a theater for the opening act, setting the stage for the "play within a play" motif. Here, we witness Cyrano's theatrical flair as he navigates his pursuit of honor and recognition, embodying both actor and playwright. The setting underscores the performative nature of Cyrano's life, as he orchestrates his actions to win the applause of his peers.
Ragueneau’s Pastry-Shop
The second act shifts to Ragueneau’s pastry-shop, a large kitchen teeming with culinary delights. This is where the aspirations of the pastry chef and would-be poet, Ragueneau, come into focus. His quest for poetic honor is juxtaposed with his true prowess as a chef, as evidenced by the shop's abundance of food. The setting is a testament to Ragueneau's dual passions and his struggle to excel in the literary realm.
Roxane’s House
In act three, the drama unfolds at Roxane’s house, a locale imbued with romantic symbolism. The vine-covered walls and the balcony echo the classic scene from Shakespeare’s Romeo and Juliet, highlighting the daring romance between Roxane and Christian de Neuvillette. Situated in a conservative district of Paris, the house stands in stark contrast to the protagonists' bold love affair. The bandaged knocker on Roxane’s door humorously suggests the house’s weariness with suitors, echoing the challenges the lovers face.
The Siege of Arras
The narrative’s intensity peaks in act four, set in Arras, a city under siege. This Spanish-held city witnessed a dramatic retaking by the French in 1640, a historical backdrop that amplifies the stakes for Cyrano and Christian. Their bravery is on full display as they risk their lives for king and country, a testament to their pursuit of honor. Roxane's unexpected arrival with sustenance for the starving Gascon Guards adds a poignant layer to the scene, resonating with audiences familiar with the hardships of warfare, particularly those experienced during France's later sieges.
Sisters of the Holy Cross Convent
The final act transpires in the tranquil garden of the Sisters of the Holy Cross convent, fifteen years after Arras. This serene setting mirrors the autumn of Cyrano’s life, with falling leaves symbolizing his advancing age. An enormous, solitary tree in the garden parallels Cyrano's own isolation and grandeur, as he finally reveals to Roxane the truth about the love letters. The path to the chapel, representing Heaven, remains indirect, much like Cyrano's tumultuous journey through life, culminating in this poignant revelation.
Adaptations
The earliest film version of Cyrano de Bergerac is a silent movie from 1925, featuring Pierre Magnier as Cyrano. This adaptation is available through Kino on Video.
The most renowned film adaptation of Cyrano de Bergerac stars Jose Ferrer, who brought his acclaimed stage performance to the screen as the titular character. Released in 1950 by United Artists, this version can be found on Nostalgia Family Video.
The Royal Shakespeare Company produced a notable version of the play in 1985, with Derek Jacobi taking on the role of Cyrano. This production is available on video from Turner Home Entertainment.
For a more recent interpretation, consider Jean-Paul Rappeneau's 1990 film adaptation of Cyrano de Bergerac, featuring Gerard Depardieu in the leading role. His portrayal earned him the Best Actor award at the 1990 Cannes Film Festival. This film is available on Orion Home Video.
Steve Martin's comedic film Roxanne (1987) offers a contemporary American twist on the Cyrano de Bergerac story. The film stars Steve Martin as C. D. Bales, a modern-day Cyrano, and Daryl Hannah as Roxanne. It is available through Columbia Home Video.
Bibliography
FURTHER READING
Burgess, Anthony. Preface to Cyrano de Bergerac, by Edmond Rostand,
translated by Burgess, Knopf, 1971, pp. v-xiv.
Although a significant portion of this essay details Burgess's approach to
translation, it also provides insightful commentary on the challenges within
Rostand's play.
Chesterton, G. K. "Rostand" in his Varied Types, Dodd, Mead, and
Company, 1903, pp. 73-82.
This excerpt from Chesterton's book offers an analysis of Rostand's work, with
a particular focus on Cyrano de Bergerac and L'Aiglon,
highlighting their classification as heroic comedies.
Phelps, William Lyon. "Edmond Rostand" in his Essays on Modern
Dramatists, Macmillan, 1921, pp. 229-78.
This essay provides a comprehensive overview of Rostand's career, exploring the
recurring theme of the "Triumphant Failure" across several of his plays. It
serves as a valuable resource for understanding Rostand's thematic
interests.
Spiers, A. G. H. "Rostand As Idealist" in Columbia University
Quarterly, Vol. XX, No. 2, April 1918, pp. 155-69.
Spiers examines how various characters in Rostand's works, including Cyrano,
strive to achieve their idealistic ambitions despite facing significant
challenges. The essay includes numerous excerpts from Rostand's plays and
discusses his concept of "panache."
SOURCES
Beerbohm, Max. "Cyrano de Bergerac" in his Around Theatres, revised edition, Rupert Hart-Davis, 1953, pp. 4-7.
Howarth, William D. "Cyrano de Bergerac" in Reference Guide to French Literature, St. Fame's Press, 1992, pp. 165-66.
James, Henry. "Edmond Rostand" in the Critic, Vol. 29, no. 5, November 1901, pp. 437-50.
Lough, John. An Introduction to Seventeenth-Century France, Longmans, 1960, p. 228.
Strachey, Lionel. Review of Cyrano de Bergerac in Lippincott's, February 1899, pp. 264-69.
